YALE  STUDIES  IN  ENGLISH 
ALBERT  S.  COOK.  Editor 

LVI 


THE  CASE  IS  ALTERED 


BY 


BEN  JONSON 


EDITED  WITH  INTRODUCTION,  NOTES,  AND  GLOSSARY 


BY 


WILLIAM  EDWARD  SELIN,  Ph.D. 


NEW  HAVEN:    YALE  UNIVERSITY  P 
LONDON:    HUMPHREY  MILFORD 
OXFORD  UNIVERSITY  PRESS 


MDCCCCXVII 


RESS     f 

i 


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YALE  STUDIES  IN  ENGLISH 
ALBERT  S.  COOK,  Editor 

LVI 


THE  CASE  IS  ALTERED 

BY 

BEN  JONSON 


EDITED  WITH   INTRODUCTION,  NOTES,  AND  GLOSSARY 

BY 

WILLIAM  EDWARD  SELIN,  Ph.D. 


A  Dissertation  presented  to  the  Faculty  of  the  Graduate  School 
of  Yale  University  in  Candidacy  for  the  Degree  of 

Doctor  of  Philosophy  , 


NEW  HAVEN:    YALE  UNIVERSITY  PRESS 

LONDON:    HUMPHREY  MILFORD 

OXFORD  UNIVERSITY  PRESS 

MDCCCCXVII 


LIBRARY 

'Uniy»rsity  ol  C»liK>n»«»^ 

IRVINE^ 


ZioOl 
iqii 


PREFACE 

An  edition  of  The  Case  is  Altered  will  naturally  include 
a  discussion  of  three  subjects — the  authorship  of  the  play, 
its  date,  and  the  satire  on  Anthony  Munday.  Jonson  saw 
fit  to  ignore  the  play  when  he  assembled  the  others  in  his 
folio  of  1616,  and  this  fact  has  left  the  authorship  in  some 
doubt.  Why  did  he  reject  the  play?  Was  he  too  critical 
of  its  faults,  or  did  some  one  collaborate  with  him  to  such 
an  extent  that  he  could  not  justly  claim  it  as  his?  Jon- 
son's  name  on  the  title-page  of  the  quarto  signifies  nothing, 
since  there  are  some  copies  that  omit  the  name,  and  the 
uncorrected  condition  of  the  text  is  fair  evidence  that  he 
had  no  hand  in  the  printing.  Its  exact  date,  likewise,  is 
imcertain.  It  was  first  printed  in  1609,  but  there  is  a  clear 
allusion  to  it  by  Nashe  as  early  as  1598.  As  this  was  the 
year  when  Every  Man  in  his  Humour  was  produced,  the 
question  of  priority  naturally  arises.  The  satire  on 
Anthony  Munday  complicates  the  problem  of  the  date,  as 
it  gives  evidence  of  being  a  later  addition.  Was  Meres' 
designation  of  Munday  as  'our  best  plotter'  a  sufficient 
reason  to  evoke  the  satire?  Its  humorous  treatment  does 
not  conceal  the  fact  that  Jonson  seems  to  have  had  strong 
provocation  for  the  attack.  Such,  in  brief,  are  some  of  the 
problems  discussed  in  the  Introduction.  Other  questions 
will  be  found  to  rise  out  of  these,  which  are  not  so  impor- 
tant, perhaps,  but  which  are  nevertheless  full  of  interest. 
These  too  have  briefly  been  considered. 

My  sincere  thanks  are  due  to  Mr.  W.  A.  White,  of  New 
York  City,  for  his  generous  loan  of  the  quarto  of  The  Case 
is  Altered,  and  for  information  about  the  folios;  to  Pro- 
fessors Richard  G.  Moulton,  John  M.  Manly,  Albert  H. 


iv  Preface 

Tolman,  and  David  A.  Robertson,  of  the  University  of 
Chicago,  for  letters  regarding  the  presentation  of  The  Case 
is  Altered  by  students  of  that  university;  to  Professor  C. 
F.  Tucker  Brooke  for  points  about  EHzabethan  printing; 
to  Mr.  Andrew  Keogh,  Mr,  Henry  R.  Gruener,  Mr.  George 
A.  Johnson,  and  Mr.  Henry  Ginter,  of  the  Yale  Library, 
for  bibliographical  aid.  To  Professor  Albert  S.  Cook  I 
owe  a  special  debt  of  gratitude  for  frequent  inspiring  con- 
ferences, and  for  his  patient  criticism  of  my  work. 

A  portion  of  the  expense  of  printing  this  dissertation 
has  been  borne  by  the  Modern  Language  Club  of  Yale 
University,  from  funds  placed  at  its  disposal  by  the  gen- 
erosity of  Mr.  George  E.  Dimock,  of  Elizabeth,  New 
Jersey,  a  graduate  of  Yale  in  the  Class  of  1874. 

Yale  University, 
June,  1916. 


CONTENTS 

PAGE 

INTRODUCTION 

A.  Editions  of  the  Text 

I.     The  Quarto  of  1609         ...  vii 

II.     Subsequent  Editions         ...  x 

B.  Authorship  of  THE  CASE  IS  ALTERED  xi 

C.  Date         .......  xxix 

D.  The  Satire 

I.     Anthony  Munday    ....  xxxv 

II.     Conduct  of  the  Audience  .         .         .  xxxix 

E.  Sources   .......  xlii 

F.  Evaluation  of  THE  CASE  IS  ALTERED  xlvii 

TEXT I 

NOTES 95 

GLOSSARY 191 

BIBLIOGRAPHY      ......  207 

INDEX      .........  212 


INTRODUCTION 

A.     Editions  of  the  Text 

I.    The  Quarto  of  1609 

The  Case  is  Altered  was  published  in  quarto  in  1609.  It 
was  not  published  again,  either  separately  or  in  any  collected 
edition  of  Jonson's  works,  until  1756,  when  it  was  included 
in  Whalley's  edition.  Some^  have  insisted  that  the  play 
appears  in  the  folio  of  1692,  but  no  evidence  is  given  that 
the  writer  saw  the  play  in  any  particular  copy  of  this  folio. 
A  careful  search,  extending  over  a  wide  field,  has  failed 
to  show  that  the  play  was  ever  printed  in  any  of  the  folios 
of  Jonson.  The  search  included  the  folios  in  the  libraries 
of  the  following:  Yale  University,  1616,  1631-1640,  1640 
(2  copies),  1692;  Professor  WilHam  Lyon  Phelps  (Yale), 
1616,  1640  (2  copies),  1692;  Professor  John  Milton  Ber- 
dan  (Yale),  1640,  another  issue  (undated)  ;  Elizabethan 
Club  (Yale),  1616;  Boston  Athenaeum,  1631-1640;  Colum- 
bia University,  1640-1641  (2  vols.)  ;  Cornell  University, 
1616;  Professor  Joseph  Q.  Adams  (Cornell),  1616,  1640; 
Harvard  University,  1616-1641  (2  vols.)  ;  Peabody  Insti- 
tute, 1616-1641  (2  vols.)  ;  Princeton  University,  1640  (2 
vols.);  George  D.  Smith  (bookseller,  New  York  City), 
1692;  University  of  Chicago,  1616;  University  of  Penn- 
sylvania, 1616,  1640;  Mr.  William  A.  White,  New  York 
City,  1616,  1640,  1692.  In  a  letter  to  Dr.  George  B,  Ten- 
nant,^  dated  November  9,  1906,  Mr.  W.  W.  Greg  writes, 
in  part,  as  follows:   'To  the  best  of  my  belief  (and  I  have 

^  Hazlitt,  Bibliographical  Collections,  Second  Series,  1882,  p.  320 ; 
Diet.  Nat.  Biog.  (s.  v.  Jonson)  ;   cf.  Hart  (ed.  Wks.  i.  xxviii). 
'Ed.  New  Inn  (Yale  Studies  34.  iv). 


viii  Introduction 

examined  a  good  many  copies  of  every  edition),  The  Case 
is  Altered  was  never  printed  in  folio  at  all.'  Mr.  Horace 
Hart,  Controller  of  the  Oxford  University  Press,  under  the 
date  of  January  8,  1912,  writes :  'The  Case  is  Altered  does 
not  appear  in  the  folio  edition  of  1692  in  the  Bodleian 
Library.' 

In  preparing  the  present  edition,  five  copies  of  the  quarto 
were  used.  Four  were  photographic  facsimiles,  and  the 
fifth  was  an  original  copy  kindly  lent  by  Mr.  W.  A.  White 
of  New  York  City.  Of  the  texts  that  were  photographed, 
one  is  in  the  Bodleian  Library  at  Oxford  (B),  two  are  in 
the  British  Museum  (Mi,  M2),  and  the  fourth  was  in  the 
library  of  the  Duke  of  Devonshire  (D).  The  copies  have 
been  carefully  collated,  and  all  differences  in  spelling  and 
punctuation  have  been  recorded  in  the  footnotes.  There 
are  noticeable  differences  in  the  title-pages.  The  arrange- 
ment and  reading  of  one  (Mi)  are,  in  several  respects, 
unlike  the  others.  The  latter  are  identical,  except  that  one 
{D)  lacks  Jonson's  name.  Reproductions  of  the  title-pages, 
showing  these  variations,  will  be  found  on  pages  3,  5,  and 
7.  Both  copies  in  the  British  Museum  (Mi,  M2)  lack  the 
last  page,  and  in  each  the  last  line  of  the  page  preceding 
has  apparently  been  excised. 

The  text  of  the  present  edition  is  a  faithful  reproduction 
of  Mr.  White's  copy.  It  is  one  of  the  more  corrected 
copies,  and  has  the  obvious  advantage  of  being  an  orig- 
inal quarto.  An  edition  such  as  this  is  intended  for  the 
general  student,  whose  work  is  not  of  such  a  character  as 
to  demand  the  original  text,  but  who  would  find  a  repro- 
duction of  it  of  great  value,  especially  since  the  quarto  is 
not  so  easy  of  access.  No  alterations,  therefore,  have  been 
made  in  spelling  or  punctuation,  even  when  these  are  obvi- 
ously incorrect.  The  quarto  does  not  have  the  acts  and 
scenes  indicated  throughout  the  play.  Where  these  cease, 
an  attempt  has  been  made  to  supply  them.  There  is  no 
pagination  in  any  of  the  copies. 


Editions  of  the  Text  ix 

The  collation  shows  that  all  but  the  Mi  copy,  with  five 
exceptions  (Antouy,  p.  9;  dost,  1.3.14;  lealoiis,  2.4.63; 
Lordship,  2.6.30;  come,  2.7.1 17),  agree  in  their  readings  as 
far  as  the  end  of  Act  4,  scene  6.  The  Mi  copy  differs 
from  the  others  in  twenty-three  readings.  The  collation 
shows  also  that  all  copies  but  B,  with  four  exceptions  {thee, 
4.6.1 ;  kinsman,  4.7.71 ;  sences,  smels,  4.7.133),  agree  from 
Act  4,  scene  7,  to  the  end  of  the  play.  The  B  copy  has 
twenty-two  variations.  In  both  parts  of  the  quarto,  where 
the  four  copies  agree,  the  readings  are,  in  the  main,  prefer- 
able. It  will  be  seen  then  that  D,  M2,  and  Mr.  White's 
copy,  while  they  still  retain  many  errors,  are  at  least  more 
free  from  them  than  Mi  and  B,  and  that  attempts  at  cor- 
rection were  made  while  the  play  was  in  process  of  being 
printed.  Whoever  it  was  that  took  the  initiative  in  having 
the  play  published,  whether  it  was  the  theatrical  manage- 
ment of  the  Blackfriars,  as  Mr.  White  is  inclined  to 
believe,  or  whether  it  was  the  printers  themselves,  it  is  rea- 
sonably certain  that  Jonson  had  no  hand  in  the  printing. 
The  correction  was  never  finished,  and  such  as  there  is 
does  not  give  evidence  of  Jonson's  painstaking  hand.  The 
play  seems  to  have  been  hurriedly  issued.  Aside  from 
errors  in  spelling  and  punctuation  which  still  remain,  the 
abrupt  ending  to  the  division  of  acts  and  scenes,  and  the 
large  portions  of  Act  5  which  are  clearly  intended  to  be 
read  as  verse,  and  are  not  thus  arranged,  tend  to  confirm 
this  view. 

However  the  copies  of  the  quarto,  which  have  been  col- 
lated, may  differ,  whether  in  title-page  or  text,  or  whether 
Jonson's  name  appears  on  the  former  or  not,  it  is  evident 
that  the  same  form  was  used  to  print  all  of  them.  The 
texts  are  identical  in  their  irregularities  of  spacing  and 
alignment,  in  instances  where  the  letters  have  been  slightly 
damaged  or  worn,  and  in  numerous  places  that  show  typo- 
graphical errors.  The  following  are  a  few  examples  of  the 
last:  n  for  in,  2.4.17;    frick  for  trick,  2.7. 131 ;    mothelry 


X  Introduction 

for  motherly,  4.2.58;  the  omission  of  Juniper  before  the 
speech,  4.7.148;  the  inversion  of  m  in  mad,  4,7.163;  a  to 
priest  for  to  a  priest,  5.4.12.  Others  will  be  found  in  the 
footnotes. 

The  footnotes  have  been  limited  to  the  textual  variants 
of  the  five  copies  of  the  quarto,  to  Gifford's  added  stage- 
directions,  and  to  such  corrections  or  alterations  made  by 
Whalley  and  Gifford  as  seemed  of  value. 

II.     Subsequent  Editions 

After  the  quarto  of  1609,  the  next  appearance  of  The 
Case  is  Altered  was  in  Peter  Whalley's  edition  of  Jonson's 
works,  published  in  1756.  Credit  should  be  given  to  Whal- 
ley for  including  this  play,  and  for  tracing  some  of  its 
sources.  He  retained  the  arrangement  of  the  acts,  scenes, 
and  stage-directions  of  the  quarto.  He  made  a  practice  of 
retaining  the  name  of  the  Deity  in  oaths,  such  as  God's  lid, 
I.I.I 5;  also  /  (ay),  1.1.40;  and  contracted  words:  you're, 
1. 1.3 1 ;  is't,  1. 2. 10.  Though  he  altered  and  corrected  the 
spelling,  he  sometimes  allowed  misspelled  words  to  remain : 
lothes,  1.4.34;  doiv,  5.5.200.  The  corrupted  French  in  Act 
4,  scene  3,  he  wisely  left  untouched.  Metrical  lines,  not 
properly  arranged,  were  to  some  extent  corrected.  Where 
the  quarto  has  the  modern  spelling,  Whalley  has  cheared, 
3.4.46;  dunghil,  3.5.15.  In  past  participles,  he  usually 
wrote  try'd  for  tri'd,  1.4.33;  ^pj'd  for  spide,  2.6.39.  ^^ 
some  instances,  words  were  altered:  outer  for  outward, 
1.4.13;  oft-times  for  oftentimes,  1.5.69;  words  were 
inserted:  all  this  for  this,  1.2.17;  you'll  for  you,  4.7.31; 
words  were  omitted:  go  for  go  to,  1.1.121 ;  his  for  and  his, 
4.2.35 ;  words  were  displaced  by  others :  as  for  but,  i. 5.214; 
fear  for  see,  1.5.249.  In  one  place  he  altered  the  reading, 
compressing  two  speeches  into  one  (4.3.62-3)  :  'Oni.  Mon- 
sieur Pacue.'  In  another,  he  omitted  the  first  part  of  a 
speech  (5.1. 41)  :  'Ang.  Do,  good  foole,  do,  but  ile  not 
meet  you  there.'     It  will  be  seen  that  many  of  Whalley's 


Authorship  xi 

alterations    are    unnecessary,    and    are    by    no    means    an 
improvement  over  the  quarto  readings. 

William  Gifford  included  the  play  in  his  edition  of  Jon- 
son,  published  in  1816.  His  emendations  and  notes  are 
better  and  more  thorough  than  Whalley's,  and  he  supplied 
additional  notes  on  the  sources.  He  revised  the  stage- 
directions  and  the  division  of  acts  and  scenes.  Many  lines 
were  rearranged  to  show  the  verse-structure.  In  the  case 
of  oaths  he  has  Lord  for  God,  1.4.59;  Od's  for  God's, 
1. 1. 15.  He  wrote  Ay  for  /,  1.1.40;  an  for  &  or  and, 
1.1.96,100;  them  or  'em  for  hem,  1.1.95;  4.7.29.  Contracted 
words  were  expanded:  you  are  for  your,  1.1.31 ;  is  it  for 
ist,  1. 2. 10;  forced  for  forct,  1.2.20;  but  sometimes  look'd 
for  lookt,  1.3.5;  ^^d  enamour'd  for  enamored,  1.1.30. 
Occasionally  the  expansion  is  at  the  expense  of  metre:  to 
insinuate,  1.4.32;  the  abundance,  1.4.35.  Words  were 
altered:  does  for  do,  1.5.35;  burthen  for  burden,  4.5.52; 
words  were  inserted,  usually  for  metrical  reasons:  looks 
aghast  for  lookes,  1.5.256;  my  before  faire  fethered,  5.1.90; 
words  were  omitted:  is  for  is  truly,  1.1.66;  pray  for  pray 
God,  2.2.49-50 ;  words  were  displaced  by  others :  our  for 
your,  1.3. 12;  coying  for  wooing,  5.1.7.  In  numerous 
instances  he  followed  the  emendations  made  by  Whalley. 
Cunningham,  in  the  notes  to  his  reprint  (1875)  of  Gifford's 
edition,  justly  finds  fault  with  many  of  Gifford's  alterations. 

B.     Authorship   of    THE  CASE  IS  ALTERED 

It  is  well  known  that  The  Case  is  Altered  has  not  so  clear 
a  title  to  Jonson's  authorship  as  the  other  plays.  It  was 
neither  included  by  him  in  the  collected  editions  of  his 
works,  nor  was  it,  so  far  as  we  know,  ever  referred  to 
as  his,  either  by  himself  or  by  his  contemporaries.  Some 
copies  of  the  quarto  have  Jonson's  name  on  the  title-page, 
but  the  value  of  this  is  offset  by  the  fact  that  there  are  other 
copies  of  the  same  edition  that  have  no  name.     The  uncer- 


xii  Introduction 

tainty  caused  by  this  is  not  lessened  when  it  is  considered 
that,  as  a  romantic  comedy,  the  play  differs  from  his  other 
plays,  and  that  the  variety  of  plots,  and  the  treatment  of 
the  dramatic  unities,  would  seem  to  be  contrary  to  Jonson's 
classical  ideals  and  practice.  However,  the  consensus  of 
opinion  has  been  that  the  play  bears  the  stamp  of  his  hand, 
and  it  is  therefore  usually  referred  to  as  his. 

Before  entering  upon  a  discussion  of  the  internal  evi- 
dences of  authorship,  a  few  of  the  questions  naturally 
raised  will  be  briefly  considered.  If  Jonson  wrote  The 
Case  is  Altered,  why  was  it  neither  acknowledged  nor 
included  by  him  in  his  works  ?  It  has  been  suggested^  that 
a  possible  reason  for  this  was  that  he  had  a  collaborator 
whose  part  was  important  enough  not  to  be  overlooked. 
Had  there  been  a  collaborator — and  this  seems  doubtful — 
it  would  not  have  prevented  him  from  at  least  allowing  the 
association  to  be  indicated,  as,  for  example,  was  the  case 
with  Eastward  Hoe.  That  Jonson  at  first  was  not  averse  to 
having  his  name  appear  as  collaborating  with  others,  there 
is  additional  proof  from  entries  in  Henslowe's  Diary.^  On 
the  other  hand,  it  is  possible  that  he  may  have  collaborated 
in  the  present  play,  and  that  he  refused  to  have  his  name 
appear  because  he  thought  that  the  practice  was  not  credit- 
able to  him.  A  better  reason  for  ignoring  the  play,  and 
one  more  in  accord  with  what  we  know  of  Jonson,  is 
that  he  believed  it  did  not  represent  his  best  work.  He 
was  not  interested  in  its  type,  and,  as  a  whole,  it  did  not 
conform  to  his  ideals  of  classical  unity.^  However  skilfully 
they  were  interwoven,  he  must  have  felt  that  the  presence 
of  two,  if  not  three,  major  plots  and  numerous  sub-plots, 
and  of  several  characters  more  or  less  undeveloped,  dis- 
credited him  as  an  artist.  There  were  also  the  time-element 
and  the  Balladino  incident  to  disturb  its  unity.     Whether 

^Castelain,  p.  207;    cf.  Swinburne,  p.  11. 
'Ed.  Greg  i.  49,  51,  63,  64. 
*  Castelain,  p.  207. 


Authorship  xiii 

he  regarded  the  play  as  an  experiment,  or  as  the  crude  work 
of  a  novice,  it  is  evident  that  the  result  did  not  suit  him. 
Jonson's  theories  as  to  the  unities  of  time  and  action,  and 
his  treatment  of  them  in  the  present  play,  will  be  considered 
more  fully  under  Evaluation. 

Why  some  copies  of  the  quarto  bear  Jonson's  name,  and 
others  do  not,  has  been  a  matter  of  conjecture.  Fleay* 
believed  that  his  name  was  inserted  in  later  copies.  Swin- 
burne's^ view  was  that  the  play  was  printed  without  Jon- 
son's sanction,  and  that  he  took  measures  to  stop  its 
circulation.  Referring  to  a  newspaper  clipping  possessed 
by  Dyce,  in  which  it  was  stated  that  the  title-page  of  the 
Devonshire  copy  gave  clear  evidence  of  having  had  the 
name  canceled,  Cunningham^  says  that  if  this  had  been 
the  case,  some  mention  of  the  circumstance  would  have 
been  made  in  the  conversations  with  Drummond. 

From  a  comparison  of  the  copies  of  the  quarto  which  have 
been  used  for  the  present  edition,  the  conclusion  seems 
warranted  that  the  first  copies  had  Jonson's  name,  and  that 
later,  for  unknown  reasons,  probably  at  Jonson's  demand, 
the  name  was  canceled.  This  conclusion  is  based,  first,  on 
the  degree  of  correction  evident  in  the  texts,  and,  secondly, 
on  a  comparison  of  the  title-pages.  Assuming  that  the 
texts  showing  the  greater  number  of  typographical  errors 
were  the  first  to  come  from  the  press,  the  choice  falls  on 
B  and  Mi,  each  of  which  bears  Jonson's  name,  and  both 
show  numerous  errors  that  were  corrected  in  D,  M2,  and 
White.  Of  the  two.  Mi  seems  to  have  been  the  first  to  be 
printed.  The  errors  are  found  in  the  first  two-thirds  of 
the  play,  and  these  have  been  corrected  in  B  and  the  other 
copies.  The  peculiar  arrangement  of  the  title-page  of  Mi 
would  seem  to  indicate  that  it  was  prepared  for  an  advance 
issue.      The   prominence   of   Jonson's   name   is   especially 

*  Drama  i.  357. 

'  Ben  Jonson,  p.  9 ;   cf .  Castelain,  p.  193,  note. 

•  Works  6.  Sio. 


xiv  Introduction 

noticeable.  It  heads  the  printed  matter,  and  its  type  is  so 
much  larger  than  the  rest  that  the  name  is  featured  rather 
than  the  title  of  the  play,  a  device  which  an  enterprising 
publisher  would  naturally  adopt  to  ensure  a  ready  sale  on 
its  first  appearance. 

Upon  comparing  the  title-pages,  there  is  additional  evi- 
dence that  Jonson's  name  was  on  the  original  form,  and 
was  later  removed.  Four  title-pages  (B,  M2,  D,  White) 
are  identical,  except  that  Jonson's  name  is  omitted  on  D. 
Compare  D  and  B,  for  example,  and  notice  the  spacing  of 
each,  with  a  view  to  deciding  which  arrangement  is  the 
more  properly  balanced.  It  will  be  seen  that  B  has  the 
appearance  of  a  normally  arranged  page,  with  no  indication 
of  crowding,  as  if  the  name  had  been  a  later  insertion. 
In  D,  on  the  other  hand,  there  is  an  apparent  gap  between 
the  line  above  the  device  and  the  words  'children  of  the 
Black-friers,'  and  the  page  would  seem  better  balanced, 
either  if  the  words,  *As  .  .  .  Black-friers,'  had  been  a 
little  lower,  or  if  the  device  and  the  line  above  it  had  been 
raised.  The  inference  that  the  name  was  removed  from  D, 
and  not  inserted  in  B,  is  strengthened  when  it  is  noticed 
that  the  same  form  was  used  to  print  both.  The  spacing 
between  letters,  words,  and  lines  is  identical,  the  r  in 
'sundry'  is  inverted  in  both,  and  the  same  indications  of 
wear  are  seen  in  individual  types,  especially  in  A  and  C 
of  the  initial  line. 

It  seems  improbable  that  a  name  of  such  weight  as  Jon- 
son's possessed  at  this  time  would  be  removed  through  the 
initiative  of  the  publisher.  Jonson  consistently  avoided 
mentioning  or  claiming  the  play,  and,  if  he  gave  the  order 
that  caused  the  removal  of  his  name,  this  would  conform 
to  the  attitude  he  seems  to  have  assumed,  that  he  had  no 
further  interest  in  the  play,  and  did  not  wish  his  name 
associated  with  it. 

Why  did  Jonson  write  a  romantic  comedy,  and  why  did 
he  leave  this  type  for  satiric  comedy?      It  was  a  period 


Authorship  xv 

when  romantic  comedy  was  being  written.  Quite  possibly 
Shakespeare's'^  success  in  this  field  had  some  influence. 
Greene/  Munday,®  and  Dekker/"  had  written  or  were  writ- 
ing plays  of  this  type.  Being  a  young  writer,  it  would 
be  natural  for  Jonson  to  be  experimenting  with  what  was 
meeting  with  popular  favor.  Aside  from  the  tendency  which 
his  youth  would  have  in  determining  the  choice,  his  mate- 
rial would  easily  lend  itself  to  such  treatment.  In  the 
Aulularia,  Phaedria,  the  prototype  of  Rachel,  takes  no  part 
in  the  action.  The  possibilities  here  for  greater  dramatic 
effect  were  doubtless  clear  to  Jonson.  The  choice,  on  the 
other  hand,  may  have  been  influenced  by  Henslowe,  who, 
with  a  view  to  meet  the  popular  demand,  requested  a 
romantic  comedy.  To  have  produced  a  play  of  a  kind  in 
which  he  had  no  choice,  would  in  a  measure  help  to  explain 
his  silence  regarding  it. 

The  chief  reason  why  he  abandoned  romantic  comedy 
is  probably  that  he  was  not  interested  in  it.  Evidence 
of  this  can  be  seen  in  the  present  play.  It  is  granted 
that,  in  Rachel,  Jonson  has  given  us  his  only  real  and 
lovable  feminine  character.^^  But  the  farcical  situations 
that  concern  Juniper,  Jaques,  and  Onion,  are  worked  out 
more  carefully,  and  apparently  with  greater  interest.  As 
we  know  from  his  other  works,  it  was  in  this  field  that  his 
greatest  strength  lay.  In  this  connection,  Dryden  writes^^ : 
'You  seldom  find  him  making  love  in  any  of  his  scenes,  or 
endeavouring  to  move  the  passions;  his  genius  was  too 
sullen  and  saturnine  to  do  it  gracefully,  especially  when  he 
knew  he  came  after  those  who  had  performed  both  to  such 
an  height.     Humor  was  his  proper  sphere.'     As  an  addi- 

'  Two  G.  of  v.,  Com.  of  E.,  L.  L.  L.,  M.  of  V.,  M.  N.  D. 

^  Friar  Bacon,  James  IV. 

^  John  a  Kent,  Downfall. 

"  Shoemaker's  Holiday. 

"Castelain,  p.  199;   Schelling  i.  389. 

^  Essay  of  Dramatic  Poesy  (ed.  Saintsbury  15.  347). 


xvi  Introduction 

tional  reason,  it  is  possible  that  circumstances  influenced  his 
course.  In  the  years  that  followed,  we  know  that,  during  a 
part  of  the  time,  he  was  involved  in  the  quarrel^^  with 
Marston,  Dekker,  and  others,  and  romantic  comedy  was  not 
suitable  for  his  purpose,  had  he  preferred  it.  When  the  quar- 
rel is  ended,  he  tells  us  he  intends  to  turn  to  tragedy.^*  How- 
ever, after  the  appearance  of  Sejanus,  he  returns  to 
comedy — not  the  comedy  of  The  Case  is  Altered,  but  that 
in  which  he  had  found  his  greatest  strength,  satiric  comedy. 

With  no  definite  external  evidence  to  support  Jonson's 
authorship  of  The  Case  is  Altered,  it  remains  to  seek  this 
evidence  from  internal  sources.  That  the  value  of  this  is 
often  only  apparent,  rather  than  convincing,  is  fully  under- 
stood. But  an  author  with  an  individuality  as  marked  as 
Jonson's  must  have  left  some  proofs  of  his  personality  in 
his  works,  which  would  be  easily  recognized.  In  the  fol- 
lowing pages,  an  attempt  will  be  made  to  present  such 
proofs.  Only  the  most  prominent  characteristics  have  been 
selected  from  his  works,  and  these  will  then  be  applied  to 
the  present  play  in  the  form  of  tests.  The  tests  have  been 
limited  to  five — parallel  passages,  diction,  characters,  situa- 
tions, and  prosody.  The  works  of  contemporary  drama- 
tists^^ were  constantly  kept  in  mind,  and  material  was  often 
rejected  when  it  was  foimd  to  be  common  to  these  with 
Jonson.  The  examples  supplied  are  not  asserted  to  be 
exhaustive,  but  enough  of  them  have  been  secured  to  show 
the  value  of  the  test.  In  some  cases,  references  have  been 
included  which  may  seem  of  doubtful  value,  but  it  seemed 
wiser  to  include  them  than  to  risk  a  possible  loss  by  omitting 
them. 

The  parallel  passages  will  be  found  in  their  proper  places 
in  the  notes.      They  have  been  placed  first  in  the  note, 

^*Cf.  Small,  Stage-Quarrel. 
"  Poetaster  2.  520. 

"Especially  Shakespeare,  Chapman,  Dekker,  Marston,  Middleton, 
Heywood,  and  Chettle. 


Authorship  xvii 

except  where  quotations  are  made  from  the  sources.  Only 
one  set  of  parallel  passages  will  be  noticed  here,  and  that 
is  in  reference  to  2.  7.  81-8.  The  passage  from  Every  Man 
Out  will  be  seen  to  have  been  quoted  almost  verbatim,  a 
practice^^  that  Jonson  often  follows  in  his  other  works. 

Jonson's  vocabulary  is  not  so  distinctive  as  may  be  sup- 
posed. Cunningham^^  speaks  of  his  fondness  for  'harrot', 
but  the  word  is  used  only  twice  outside  of  the  present  play. 
Gifford^^  refers  to  his  use  of  'maker'  for  poet,  in  the  Greek 
sense.^®  But  this  usage  is  fairly  common  among  Eliza- 
bethan writers,  and  the  extent  to  which  it  was  adopted  by 
Jonson  is  perhaps  not  sufficient  to  be  regarded  as  charac- 
teristic. However,  it  has  been  thought  best  to  include  the 
word.  Only  the  verb^"  appears  here.  The  words  'circle'^'- 
and    'sphere'^^  are   common;    'case'^^    (pair)    and    'sort'^* 

"  Cf .  2.  7.  83,  note. 

"E.  M.  I.  I.  179,  27;   E.  M.  O.  2.  96. 

"  E.  M.  O.  2.  109. 

"  Discov.  9.  212. 

'^i.  I.  99;  E.  M.  I.  I.  100,  Act  5,  sc.  I  (first  ed.)  ;  E.  M.  O.  2.  26, 
109;  C.  R.  2.  210,  291;  Poet.  2.  377,  408,  423,  435,  496,  510;  Volp. 
3.  i6s;  Epi.  3.  331,  332,  36s;  B.  F.  4.  339,  347;  S.  N.  5.  155,  157, 
187,  204,  255,  270,  291;  N.  I.  5.  411;  M.  L.  6.  IS;  Tub  6.  219;  Mq. 
of  Chr.  7.  260;  /.  Jones  8.  no;  Pembroke  8.  143;  /.  Donne  8.  200; 
Ep.  112  8.  216;    Underw.  8.  338,  356;   Discov.  9.  217. 

"i.  5.  176;  4.  2.  19;  5.  I.  84;  5.  4.  64;  5.  5.  260;  E.  M.  I.  I.  25; 
E.  M.  O.  2.  21,  82;  C.  R.  2.  294,  345;  Poet.  2.  467;  Sej.  3.  49;  Volp. 
3.  219;  Epi.  3.  416;  Alch.  4.  98,  loi;  Catil.  4.  193;  B.  F.  4.  458, 
459(5)  ;  D.  A.  5.  18,  24,  30,  125;  N.  I.  5.  314,  341,  373;  M.  L.  6.  9, 
58,  99;  S.  S.  6.  284;  Mq.  Blackness  7.  10;  Mq.  Hymen  7.  54,  64; 
Barriers  7.  77,  78;  Hue  and  Cry  7.  96;  Time  Vindic.  8.  19;  F. 
Isles  8.  65;  Mq.  Love's  Tr.  8.  89,  90;  Mq.  Love's  Welc.  8.  119,  133; 
Ep.  128  8.  228 ;  Forest  8.  261 ;  Underw.  8.  326,  352,  372,  380 ;  9.  10, 
54,  55,  60 ;   Misc.  9.  324,  338. 

^4.  4-  5;  4.  8.  I22(?)  ;  s.  I.  57;  E.  M.  O.  2.  60;  C.  R.  2.  215, 
223,  340,  342;  Poet.  2.  382,  389,  466;  Sej.  3.  13;  Alch.  4.  79;  D.  A. 
5.  9;  S.  N.  5.  194;  S.  S.  6.  281;  K.  J.  E.  6.  424,  431;  Mq.  Black- 
ness 7.  16;  Mq.  Beauty  7.  37;  Mq.  Hymen  7.  57,  73;  Barriers  7. 
78;    Hue  and  Cry  7.  96,  97;    P.  H.  B.  7.  153;    Love  Freed  7.  193; 


xviii  Introduction 

(company),  to  a  smaller  degree ;  and  'humour'^^  occurs  more 
often  in  the  earlier  plays.  Regarding  the  last,  references 
will  be  given  only  to  four  plays.  It  is  recognized  that 
'humour'  was  often  used  by  other  dramatists,  Shakespeare 
especially.  He  used  it  twenty-six  times  in  Merry  Wives. 
But  compare  with  this  Jonson's  total  of  seventy-seven 
found  in  Every  Man  Out.  Sarrazin^"  has  given  a  pos- 
sible reason  for  the  frequent  use  of  'humour'  in  Merry 
Wives.  He  believed  that  it,  with  other  words,  was  intended 
as  a  sort  of  burlesque  on  Jonson's  early  mode  of  expression. 
Words  that  are  purposely  misused,  both  here  and  in  other 
plays,  are  significant ;  such  are :  'ingratitude,'^'^  'ingenuity,'^* 
'legibly,'^®      'corroborate,'^"      'hieroglyphic,'^^      'intricate,'^^ 

Irish  Mq.  7.  229;  G.  Age  Restored  7.  254;  P.  R.  7.  305;  P.  A.  8.  43; 
F.  Isles  8.  63,  65;  L.  r.  8.  90;  L.  W.  8.  137;  Ep.  94  8.  197;  Ep.  130 
8.  230;    Underw.  9.  23,  38,  55;   Misc.  g.  354- 

="2.  3.  i;   E.  M.  O.  2.  8,  178;   Poet.  2.  496,  498;    B.  F.  4.  392. 

"i.  5.  21;  E.  M.  I.  I.  31,  95;  E.  M.  O.  2.  17,  43,  67,  86,  100,  137, 
186,  188;    C.  R.  2.  336;   Poet.  2.  385,  430;    Tub  6.  148. 

^  I.  I.  34,  90;  I.  2.  14,  15;  I.  4.  84;  I.  5.  41,  86,  138,  157;  2.  2.  6; 
2.  3.  22;  4.  8.  88;  5-  I.  67;  5.  2.  83;  E.  M.  I.  i.  8,  11,  25,  41,  44,  52, 
61,  62,  63,  77,  78(7),  83,  8s,  87,  97,  104(3),  113,  121,  140;  E.  M.  O.  2.  6, 
15(5),  16(4),  17(2),  18,  26,  28,  29(2),  33(2),  35(2),  36,  44,  48,  50(5), 
51(2),  53(3),  54,  60,  61,  72,  77,  87,  89,  90,  99,  loi,  107,  no,  113,  116, 
118,  122(3),  125,  134,  136,  142,  154(3),  155,  157,  158(2),  167,  168,  169, 
171,  173,  177,  179,  183,  186,  191,  195,  196,  197,  198;  C.  R.  2.  231, 
235(2),  238,  249,  270,  272,  280,  297,  304,  307,  309,  335,  357(3),  358, 
359;  Poet.  2.  374,  385,  407,  415,  419,  424,  425,  430,  435,  448(2),  463(2), 
480,  493,  512,  519. 

^  Jahrbuch  40.  213-22  ('Nym  und  Ben  Jonson'). 

"4-  5-  56:  E.  M.  I.  I.  91  ('monster  of  ingratitude'  was  'ingrati- 
tude wretch'   in  the  first  edition). 

^2.  7.  5:   E.  M.  O.  2.  95,  119-20,  121. 

»5.  3.  57:   E.  M.I.  1.30. 

**2.  2.  42:   E.  M.  O.  2.  143. 

•'  I.  2.  7-8 :   C.  R.  2.  233 ;   Poet.  2.  486. 

''4.  7.  169:    C.  R.  2.  252. 


Authorship  xix 

*ag-gravate,'^^  'ambiguous,'^^  'insinuate,'^^  'epitaph.'^*  Words 
like  'authentic'"  (-al,  -ally),  'bastinado,'^^  'decorum,'^®  and 
'stinkard,'*"  are  of  less  value;  but  their  recurrence  seems 
frequent  enough  to  deserve  notice.  Abstract  and  other 
nouns*^  are  often  applied  to  characters.  Two  classes  of 
'strange'  words  are  frequently  used.  One*^  is  of  a  kind 
which  is  supposed  to  be  unusual  to  the  ears  of  the  listener, 
for  he  usually  repeats  it  as  if  he  were  struck  by  its  strange- 
ness. The  other*^  is  of  a  kind  which  the  speaker  misuses, 
and  the  one  addressed,  or  someone  else,  gives  the  correct 
word. 

The  test  was  then  made  for  Jonson's  use  of  words  of 
Greek  or  Latin  origin,  of  three  or  more  syllables.**  Proper 
names,  words  in   common  use,   such   as    'presently'    and 

»5.  3.  17-8:    C.  R.  2.  253. 

"5-  5.  211:   C.  R.  2.  283. 

"2.  7.  156:   C.  R.  2.  295. 

*'2.  7.  9:  C.  R.  2.  298. 

^'4.  4.  11:  E.  M.  O.  2.  130;   C.  R.  2.  228,  317;   Poet.  2,  468;   EpL 

3.  383;   Alch.  4.  73;   D.  A.  5.  57;   5".  N.  5.  175;   Mq.  Hymen  7.  53. 
**4.  7.  6:   E.  M.  I.  I.  35(3),  112,  114,  116;   C.  R.  2.  257;   Poet.  2. 

497;  Ep-  ^i-8.  155- 
"i.  I.  87:    C.  R.  2.  327(2),  350;   Poet.  2.  477;   Epi.  3.  390;   Alch. 

4.  179;  B.  F.  4.  354;  N.  I.  5.  329;  M.  L.  6.  8;  H.  of  Wales  7.  3i9; 
Convers.  9.  366,  411. 

*'2.  7-  61:  Poet.  2.  378,  426,  428,  430,  431,  436,  446,  447,  456,  463, 
482,  484,  486,  496;   Alch.  4.  20,  98;   Ep.  133  8.  236. 

^'i.  S.  23,  26:  E.  M.  O.  2.  52,  53(2),  141(2),  143(2),  148(2), 
154(2),  155(4),  169,  171(2),  177,  181;  C.  R.  2.  241(2),  261,  262,  268, 
270,  273,  274,  280(4),  281(4),  290(4),  291,  293,  294,  295,  299,  314, 
322(2),  347;   Poet.  2.  375;   Catil.  4.  226. 

^'i.  2.  jS;  I.  5-  91;  2.  7.  79;  4-  7.  86-7:  E.  M.  I.  i.  35;  E.  M.  0. 
2.  51;  C.  R.  2.  216,  227,  269;  Poet.  2.  381;  B.  A.  5.  36;  5".  iV.  5. 
165(2),  263;  A^.  /.  5.  337,  344,  375;  M.  L.  6.  32;  Tub  6.  126,  154, 
208. 

"2.  2.  52;  4.  7.  190:  E.  M.  I.  I.  27,  65,  78,  82;  E.  M.  O.  2.  119- 
20;    C.  R.  2.  270;    6".  N.  5.  182;    M.  L.  6.  20;    Tub  6.   131,   163. 

"Cf.  Pierce,  Collaboration  of  Webster  and  Dekker  (Yale  Studies 
37). 


XX  Introduction 

'gentleman,'  and  high-sounding  words,  misused,  and  intro- 
duced merely  for  purposes  of  affectation,  were  disregarded. 
Compound  words,  and  all  other  words  of  more  than  two 
syllables,  whatever  their  prefix  or  suffix,  provided  their  base 
was  derived  from  a  Greek  or  Latin  original,  were  counted. 
The  play  best  suited  to  be  compared  with  The  Case  is 
Altered  was  obviously  the  first  edition  of  Every  Man  In. 
Wherever  the  pages  contained  solid  lines  of  prose  or  verse, 
an  average  count  was  made.  Where  the  lines  were  broken, 
the  words  were  counted.  To  get  the  percentage  of  poly- 
syllabic words,  their  number  in  the  play  was  divided  by  the 
total  number  of  words.  In  The  Case  is  Altered,  the  total 
number  of  words  is  approximately  i8,i6o;  polysyllables, 
482;  percentage  of  the  latter,  .0265.  For  Every  Man  In, 
the  total  is  approximately  25,036;  polysyllables,  623;  per- 
centage, .0248.  To  have  a  better  basis  on  which  to  judge 
these  results,  one  act  from  a  play  of  three  contemporary 
dramatists  was  analyzed.  Because  it  was  longer  than  the 
first,  the  second  act  of  Shakespeare's  Two  Gentlemen  of 
Verona  was  chosen.  The  results  were:  total  number  of 
words,  4,920;  polysyllables,  109;  percentage,  .0221.  The 
first  act  of  Dekker's  Shoemaker's  Holiday  gave :  total  num- 
ber of  words,  2,012;  polysyllables,  46;  percentage,  .0228. 
The  first  act  of  Chapman's  All  Fools  gave:  total  number 
of  words,  4,554;  polysyllables,  150;  percentage,  .0329. 
The  search  was  not  inclusive  enough  to  determine  the 
exact  percentage  characteristic  of  each  author,  and  the 
results  are  therefore  suggestive,  rather  than  conclusive. 
They  will  at  least  tend  to  show  that  the  author  of  The  Case 
is  Altered  and  the  author  of  Every  Man  In  were  not 
influenced  to  any  great  extent  by  unusual  words  of  classical 
origin,  but  used  the  same  moderation  in  their  selection  as 
was  said  to  be  the  case  in  Jonson's  selection  of  words  in 
general. 

The  characters  in  The  Case  is  Altered  that  seem  remin- 
iscent of  Jonson  are,  of  course,  Juniper,  Onion,  and  Jaques, 
and,  to  a  smaller  degree.  Count  Ferneze  and  Maximilian. 


Authorship  xxi 

In  the  present  play,  Juniper  and  Onion  are  usually  asso- 
ciated, the  latter  acting  as  a  sort  of  foil  to  the  former. 
Turning  to  the  other  plays,  the  dialogue  between  Cob*^  and 
Mathew,  and  Cob  and  Cash,  strongly  resemble  those  of  the 
above  pair.  We  find  the  same  fluency  and  extravagance 
of  language,  the  same  nimble  repartee,  and  a  like  recourse 
to  puns  and  proverbs.  Notice  especially  the  words  'har- 
rot,'*«  'smell,'*^  'legiblest,'*^  'humour,'**  'ten  thousand  thou- 
sand of  my  kin'  f^  the  reference  to  the  'brazen  head,'^^  and 
to  plays  f-  the  misuse  of,  and  the  punning  on,  words  ;^^  and 
the  meaningless  quoting  of  proverbs.^*  There  is  a  remi- 
niscence of  the  two,  again,  in  the  characters  of  Clove^^ 
and  Orange.  Tucca's^^  character  may  not  resemble  Juni- 
per's, but  his  extravagant  language  frequently  does.  Fur- 
ther evidence  of  this  trait  of  Juniper's  will  be  found  in 
Shift,^^  Moria,^^  Amorphus,^^  Crispinus,""  Luscus,®^  and 
Hilts.«- 

The  suspicious  nature  exhibited  by  Jaques  is  character- 
istic of  Kitely.®^     As  in  the  case  of  the  former,  his  house 

''E.  M.  I.  I.  26-30;   I.  77-80. 
«4.  7.  189. 
"4.  7.  45. 
^'S.  3-  57. 
-"i.  2.  15. 
'"4.  3.  15-6. 
"4.3.82-3. 

"i.  I.  88  ff.;    2.  7.  28  ff. 

~Esp.  2.  2.  1-54;  2.  7.  1-158;  4.  5.  1-64;  4.  7.  1-198;  5.  3.  1-103. 
"i.  I.  21 ;   I.  3.  43;  4.  5.  28;  4.  7.  142-3,  160-8;   5.  3.  48. 
"  E.  M.  O.  2.  88-96. 

"  Poet.  2.  378,  382,  384-5,  428-9,  433,  446. 
"  E.  M.  O.  2.  102-3,  140,  143. 
"C  R.  2.  252-4,  281-2,  295,  298. 
-  C.  R.  2.  283. 
'^Poet.  2.  408. 
"Fo^f.  2.  374-5. 
*'  Tub  6.  145-6. 

•"2.  I.  1-65;   3.  2.  1-52;   3.  3.  i-so;   4.  7.  62  ff. :     E.  M.  I.  i.  40-6, 
70-2,  76-7,  89-90,  103-5. 


xxii  Introduction 

is  the  meeting-place  of  numerous  gallants,  who  keep  him 
in  a  state  of  continual  fear  of  being  tricked.  Volpone  has 
the  same  veneration  for  his  money,  and  addresses  his  'saint' 
in  language  which  is  strikingly  similar  to  that  of  Jaques.®* 
The  sentiments  uttered  by  Sir  Moth^^  are  of  the  same  order, 
and  his  search  for  the  supposed  wealth  buried  in  the  garden 
is  a  reminiscence,  though  slight,  of  the  hiding-place  of 
Jaques'  money. 

Some  of  the  intolerance  and  impatience  of  Count  Ferneze 
is  shown  by  Justice  Clement.^*  His  attitude  toward  Cob, 
seen  in  his  irritation  and  language,  is  not  unlike  that  of 
the  Count  toward  Onion.  Later  in  the  play,  another  side 
of  his  character  is  revealed,  his  geniality.  This  too  has  its 
counterpart  in  Count  Ferneze.^^  Another  character,  without 
the  sense  of  humor  of  the  Count,  but  with  his  traits  of 
impatience  and  temper  greatly  magnified,  is  Morose."* 
Both,  though  beyond  middle  age,  are  bent  on  marriage,*^ 
and,  in  both  cases,  the  venture  is  unsuccessful.'*^  The 
absurdity  of  such  a  step  on  the  part  of  the  Count  in  com- 
peting with  his  steward,  is  turned  to  ridicule  in  the  case 
of  Morose. 

In  Maximilian^^  we  have  the  vainglorious  type,  not  so 
pronounced,  to  be  sure,  but  sufficiently  developed  to  be 
classified.  On  one  occasion,  in  his  argument  with  Count 
Ferneze,  he  shows  himself  to  be  somewhat  of  a  bully,  too. 
Men  of  this  type,  met  with  in  Jonson's  other  plays,  are 
Bobadill,^^  Puntarvolo,'^^  Tucca,''*  and  Ironsides." 

"2.  I.  28-31;  3.  5.  16-26;  4.  7.  134-41:   Volp.  3.  166-7. 

"M.  L.  6.  41-3,  97-103. 

"i-  5.  1-53;  4.  8.  1-95;   5.  5.  1-22:  E.  M.  I.  I.  91-3. 

"2.  5.  1-24:   E.  M.  I.  I.  138-45. 

'^Epi.  3.  352-61. 

'*2.  6.  36-50;  3.  3.  1-50:   Epi.  3.  371-6. 

™3.  4.  18-22,  51-4:   Epi.  3.  476. 

"^i-  3-  30-9;  4.  I.  1-47;  4.  8.  1-81. 

"£.  M.  I.  I.  35-8,  64-5,  1 12-9. 

"£.  M.  O.  2.  5  ('Characters'),  129-31,  179-83. 

''*Poet.  2.  384-6,  420-39. 

"M.  L.  6.  51-3,65. 


Authorship  xxiii 

Besides  the  recurrence  of  certain  types  of  characters  in 
Jonson's  plays,  some  light  may  be  thrown  on  the  subject 
of  authorship  by  considering  the  method  he  follows 
in  naming  them.  The  custom  of  naming  a  character  to 
reflect  his  personality  was  common,  but  the  persistent  prac- 
tice of  punning  on  the  name  seems  to  have  been  more 
common  with  Jonson.  It  is  true  that  Shakespeare  adopted 
this  plan  to  some  extent,  especially  in  two  playsJ®  As 
to  his  other  plays,'^^  only  a  few  have  indications  of  it.  Of 
other  leading  contemporaries,  who  were  writing  about  1598, 
and  who  followed  this  device  of  naming  characters,  Mid- 
dleton^^  may  be  mentioned;  but  he  rarely  puns  on  the 
names.  In  the  case  of  Chapman,^^  Dekker,*"  Marston,*^  and 
Heywood,  there  is  only  an  occasional  play  with  a  name  of 
this  kind,  and  the  punning  is  correspondingly  less.  A  few 
references  have  been  given  to  show  the  nature  of  the  puns, 
and,  approximately,  the  extent  to  which  the  custom  was 
followed.     In  the  case  of  Jonson,^^  it  would  sometimes  seem 

""2  Hen.  IV  2.  I.  27  (Fang,  Snare)  ;  Pistol:  2.  4.  120,  146;  5.  3. 
130  (and  Hen.  V  2.  i.  55)  ;  2  Hen.  IV  3.  2.  99,  119,  140,  152,  179, 
187  (Silence,  Mouldy,  Shadow,  Wart,  Feeble,  Bullcalf )  ;  M.  N.  D. 
I.  2.  ID,  66  (Quince,  Snug)  ;  3.  i.  186  ff.  (Cobweb,  Peaseblossom, 
Mustardseed) ;   4.  i.  221   (Bottom). 

■  ''''  Meas.  for  Meas.  2.  i.  48,  59,  214,  228  (Elbow,  Froth,  Pompey)  ; 
L.  L.  L.  3.  I.  71,  107  (Costard)  ;   5.  i.  156,  162  (Dull). 

''^  Blurt,  Master-Constable,  Wks.  i.  23  (Pilcher) ;  Michaelmas 
Term,  Wks.  i.  221,  225,  230,  239  (Lethe)  ;  i.  222  (Falselight)  ;  i. 
259  (Easy)  ;  Family  of  Love,  Wks.  3.  41,  42  (Purge,  Gudgeon)  ; 
Chaste  Maid,  Wks.  5.  27,  91   (Touchwood). 

'^  All  Fools,  Wks.  I.  157  (Pock). 

^Roaring  Girl  (with  Middleton),  Wks.  3.  143,  145,  149,  190  (Gos- 
hawk, Green-wit,  Trap-door,  Hanger). 

^^  Eastward  Hoe  (with  Jonson  and  Chapman),  Wks.  3.  94,  95 
(Quicksilver). 

^'S-  3.  23  (Juniper);  Onion:  i.  i.  97,  156;  i.  5.  55-6,  58-9;  2.  7. 
104-5;  4.  3-  14-^;  4.  5.  36-7;  4.  7-  70-2,  134,  158;  5-  3-  22;  5.  5. 
234:  E.  M.  I.  I.  27,  79  (Cob)  ;  93  (Bobadill)  ;  E.  M.  O.  2.  59,  105 
(Fungoso,  Whiff e)  ;  89  (Orange,  Clove)  ;  C.  R.  2.  225,  248  (Amor- 
phus)  ;  234,  248  (Cos)  ;  235,  247  (Prosaites)  ;  238,  263  (Hedon)  ; 
242,  263  (Anaides)  ;   250  (Argurion)  ;   260  (Crites)  ;   295  (Morus)  ; 


xxiv  Introduction 

as  if  the  name  were  chosen  for  the  opportunities  it  gave 
for  punning. 

Dryden®^  has  referred  to  Jonson's  frequent  practice  of 
describing  a  character^*  before  he  appears.  The  same  may 
be  said  of  characters'^  who  have  appeared  for  a  moment, 
and  retired,  or  of  those  who  have  just  entered. 

Jonson's  favorite  situations,  as  they  concern  the  present 
play,  are  chiefly  those  that  characterize  a  prevaihng  humor.** 
Of  the  latter,  the  more  prominent  are  travel,  apparel,  her- 
aldry, tobacco,  fencing,  and  courtship.  A  mere  glance 
through  his  early  plays  will  show  how  frequently  and  how 
thoroughly  he  treats  these  subjects.  One  of  his  characters 
is  made  to  typify  a  particular  'humour,'  and  he  contributes 
an  important  part  to  the  theme  that  motivates  the  play. 

The  Case  is  Altered  is  not  a  study  of  humors  on  the  same 

Poet.  2.  483  (Lupus)  ;  Volp.  3.  176,  182  (Volture,  Corbaccio)  ;  B.  F. 
4-  361  (Quarlous) ;  362,  368  (Littlewit) ;  366-7  (Waspe) ;  371 
(Cokes)  ;  389  (Ursula)  ;  S.  N.  5.  193,  212-3  (Wax)  ;  199  (Mad- 
rigal) ;  199-201  (Pecunia)  ;  N.  I.  5.  308,  309  (Heart)  ;  316-7 
(Ferret) ;  324  (Love!)  ;  333,  354  (Trundle)  ;  334-5  (Fly) ;  336 
(Tipto)  ;  342  (Laetitia)  ;  353-8  (Pierce,  Jug,  Jordan,  Peck)  ;  361 
(Bat);  382  (Stuff);  M.  L.  6.  14  (Steel);  14,  50  (Palate);  16,  51 
(Compass);  17,  44  (Silkworm);  18  (Loadstone);  19  (Polish); 
26-7  (Bias) ;  32,  73  (Needle)  ;  Tub  6.  128  (Tub,  Zin) ;  134-5 
(Clay);    135  (Turfe)  ;    136-7,  179  (Metaphor);    138  (Polecat). 

^ Essay,  Dramatic  Poesy  (IVks.  15.  353,  ed.  Saintsbury). 

"i.  3.  30-9  (Maximilian);  i.  4.  7-17,  84-9  (Angelo,  Count 
Ferneze)  ;  E.  M.  I.  i.  29-30  (Bobadill)  ;  35  (Downright) ;  40-1 
(Wellbred)  ;  83  (Clement)  ;  E.  M.  O.  2.  53-4  (Puntarvolo) ;  C.  R. 
2.  238-40  (Hedon)  ;  Poet.  2.  375  (Tucca)  ;  Epi.  3.  Z2>7  (Collegiate 
Ladies)  ;  341-3  (Morose)  ;   346-7  (Daw)  ;   347-8  (La-Foole)  ;   B.  F. 

4.  364-s  (Busy)  ;  367-8  (Cokes)  ;  D.  A.  5.  36-7  (Meercraft)  ;   S.  N. 

5.  165  ('Emissaries')  ;  183-4  (Pecunia) ;  A''.  /.  5.  319-20  (Lady 
Frampul)  ;   334-5  (Fly);   M.  L.  6.  15  (Rut);   24  (Moth). 

« I.  I.  34-8  (Onion)  :  E.  M.  O.  2.  27-8,  37-8  (Macilente)  ;  38-9 
(Buffone) ;  51-2  (Fastidious) ;  C.  R.  2.  242-4  (Anaides) ;  247-9 
(Amorphus,  Asotus)  ;  249-50  (Crites)  ;  250-1  (Argurion)  ;  252, 
253  (Moria,  Philautia)  ;  M.  L.  6.  14-5  (Palate)  ;  23-4  (Silkworm, 
Practice)  ;   24-5  (Bias). 

*=  Cf.  E.  M.  O.  2.  16. 


Authorship  xxv 

scale  as  are  some  of  Jonson's  plays.  Here  they  may  be 
regarded  as  only  sketched.  As  to  travel,  Valentine^^  is  the 
traveler,  and  though  personally  he  is  not  made  ridiculous, 
his  appearance  usually  evokes  a  thrust  at  travel.  Puntar- 
volo,*^  Amorphus,^®  and,  to  a  smaller  degree.  Politick  and 
Peregrine,®"  are  the  best  examples  of  this  type.  After 
Juniper  and  Onion  had  found  Jaques'  gold,  they  decided 
to  be  'sumptuously  attired.'  Fungoso  and  Fastidious  Brisk 
represent  extremes  of  this  'humour.'^^  Having  decided 
on  apparel,  another  requisite  of  a  gentleman  was  a  coat-of- 
arms.  The  aspirations  of  Sogliardo®^  in  this  connection  will 
be  remembered.  Other  instances  are  to  be  found  in  the 
characters  of  Cob,"^  Crispinus,®*  La-Foole,**^  Piedmantle,^* 
and  Pecunia.  There  is  just  a  passing  reference  to  tobacco 
in  our  play,  and  this  is  not  by  a  smoker,  but  by  one  of  the 
female  characters.  Sogliardo,^'^  Shift,  and  Fastidious  Brisk 
are  notable  examples  of  this  reputed  accomplishment  of  a 
gentleman.  References  to  others,®^  however,  are  frequent. 
Fencing  is  another  accomplishment  which  was  extensively 
ridiculed  by  Jonson,  and  Bobadill"®  is  the  central  figure. 

^i.  2.  22-34;  2.  7.  34-5,  54-8;  5.  3.  44-6,  86-7. 

**£.  M.  O.  2.  5  ('Characters'),  58,  70-1,  105,  129-31. 

*  C.  R.  2.  226-7.  230-2,  248,  273,  291-2,  319. 

*"  Volp.  3.  196-202,  259-66. 

"4.  7.  181-6;  5.  3.  1-103;  5.  5.  205-43:  E.  M.  O.  2.  6.  7  ('Char- 
acters'), 63-9,  79-83,  85,  99,  1 16-7,  123,  148,  152,  156,  168,  190-1; 
of.  E.  M.  O.  2.  30;   S.  N.  5.  162-8;   M.  L.  6.  54. 

"4.  7.  187-94:  E.  M.  O.  2.  7  ('Characters'),  35-6,  91,  96-8;  of. 
Nason,  Heraldry. 

*^E.  M.  I.  I.  26. 

**Poet.  2.  394-5. 

"^Epi.  3.  350-1. 

"  S.  N.  5.  192-3 ;   263-4. 

"2.  3.  13:  E.  M.  O.  2.  6,  7  ('Characters'),  89,  93-4,  105-7,  116-22, 
132-3,  153,  161-2,  181. 

"£.  M.  I.  I.  30,  83-8,  92-4;  C.  R.  2.  209,  243;  Epi.  3.  409;  Alch. 
4-  35-7,  loo-i;   B.  F.  4.  387,  404-7;   D.  A.  5.  143. 

"^2.  7.  1-29,  89-158:  E.  M.  I.  I.  35-8,  64-8,  1 12-8,  126;  cf.  E.  M.  O. 
2.  102-4,  145-7;  C.  R.  2.  313-35;  Epi.  3.  434-6;  Alch.  4.  loi ;  D.  A. 
5.  78,  124;   N.  I.  5.  338-40;   M.  L.  6.  62-9. 


xxvi  Introduction 

The  allusions  to  fencing  terminology  are  a  characteristic 
feature.  Of  Jonson's  favorite  situations,  those  that  deal 
with  courtship  remain  to  be  considered.  The  fantastic 
mode  of  courtship  indulged  in  by  Pacue  and  Finio^*"*  was 
ridiculed  more  extensively  in  Cynthia's  Revels.  Puntar- 
volo's^^^  curious  addresses  to  Lady  Puntarvolo  are  another 
example.  The  contest  which  LoveP**^  waged  to  win  the 
favor  of  Lady  Frampul  is  of  a  more  serious  order,  but  it 
is  worthy  of  note.  Then  there  are  some  examples  of  a 
minor  nature  suggested  by  the  exchange  in  courtesies 
between  Francisco^*'^  and  Angelo  and  the  two  sisters. 

In  the  test  of  prosody,  the  attention  was  first  turned 
toward  determining  Jonson's  use  of  feminine  endings. 
Four  plays,  besides  the  present  one,  were  studied :  E.  M.  I. 
(first  and  revised  editions),  E.  M.  O.,  C.  R.,  and  Poet.  To 
secure  the  percentage  of  feminine  endings,  the  number  of 
lines  showing  these  were  divided  by  the  total  number  of 
metrical  lines.  The  results  were  as  follows :  The  Case  is 
Altered,  1,259  metrical  lines,  248  with  feminine  endings, 
percentage,  .197;  E.  M.  I.  (first  ed.),  568  metrical  lines,  108 
feminine  endings,  percentage,  .190;  E.  M.  I.  (revised  ed.), 
679  metrical  lines,  179  feminine  endings,  percentage,  .263; 
E.  M.  O.,  694  metrical  lines,  167  feminine  endings,  percent- 
age, .240;  C.  R.,  756  metrical  lines,  67  feminine  endings, 
percentage,  .088;  Poet.,  889  metrical  lines,  149  feminine 
endings,  percentage,  .167.  The  average  percentage  for  all 
the  plays,  exclusive  of  the  present  play,  is  .187.  The  low 
percentage  of  C.  R.  at  first  seemed  surprising ;  but,  on  com- 
paring scenes  of  a  high  percentage  of  feminine  endings 
with  those  of  a  low  percentage,  it  was  found  that  the 
latter  were  invariably  more  lofty  in  theme. 

'""a.  3.  1-83:   C.  R.  2.  302,  312-35. 
^"^  E.  M.  O.  2.  54-61. 
^'^N.  I.  5.  346-52,  363-72,  385-95. 

'"2.  4.  1-69:  E.  M.  O.  2.  118-22,  163-8;  C.  R.  2.  282-93;  -S".  N. 
5.  251-9. 


Authorship  xxvii 

An  analysis  was  then  made  of  one  play  each  of  three 
contemporaries,  to  form  a  basis  on  which  to  judge  the  above 
results.  Shakespeare's  Two  Gentlemen  of  Verona,  with 
458  metrical  lines,  76  feminine  endings,  has  a  percentage 
of  .165;  Dekker's  Shoemaker's  Holiday,  979  metrical  lines, 
64  feminine  endings,  percentage,  .0653 ;  Acts  i  and  2  of 
Chapman's  All  Fools,  961  metrical  lines,  283  feminine  end- 
ings, percentage,  .294.  The  results  here,  as  they  concern 
Jonson,  are  similar  to  those  gained  in  the  polysyllabic  test. 
While  there  is  a  tendency  to  use  feminine  endings,  it  does 
not  reach  the  number  found  in  Chapman,  nor  the  low 
percentage  noticed  in  Dekker. 

The  play  contains  many  metrical  peculiarities  that  are 
found  elsewhere  in  his  works.  As  Wilke  has  made  a 
detailed  study  of  the  prosody  of  Jonson,  his  work  will  be 
referred  to  for  examples  from  these.  Some  of  the  peculi- 
arities are :  the  accent  on  the  first  syllable  of  some  disyl- 
lables,^"*  and  on  the  second  of  others,^"^  where  the  reverse  is 
the  rule;  the  accent  on  the  last  syllable  of  compound^"® 
words;  the  accent  on  the  articles,^'^'^  pronouns,^"®  and  on 
'|.q'io9  q£  ^j-j  infinitive;   the  use  of  a  monosyllabic^^"  foot  at 

"*  Austere  2.  3.  27;  discharge  2.  6.  19;  betwixt  3.  2.  39;  5.  5 
23;    enjoy  3.  3.  33;    unjust,  unkind  5.  5.  31,  33   (Wilke,  pp.  39-44) 

^"Arguing  i.  4.  46;  gaping  i.  5.  23;  using  2.  4.  30;  having  3 
2.  10;  envies  3-  5-  9;  conjured  5.  i.  74;  justice  5.  5.  45  (W.,  pp 
34-6). 

^"^  Godfather  5.   5.   128;    threadbare   2.    i.   9;     fourteen   2.    5. 
horsedung  3.  5.  13  (W.,  pp.  29,  32). 

"^i.  4.  31,  48,  75;  I.  5.  169;  2.  I.  2,  7,  60,  64;  2.  5.  19;  2.  6.  19, 
3h  32;  3-  3-  38;  3-  4-  13,  22,  46;  4.  I.  33;  4.  8.  78;  5.  i.  10;  5.  2 
i;   5.  4.  18,  65;   5.  5.  113  (W.,  pp.  19-20). 

^■^i.  4.  20,  53;  I.  5-  169,  193;  3.  4.  34,  35;  3.  5.  16,  26;  4.  7.  107 
5.  4.  48;   5.  5.  24,  25  (W.,  p.  21). 

'•*!.  4-  88;  I.  5.  152,  214;  2.  3.  29;  3.  2.  19;  3.  3.  13;  3-  5.  4 
4.  2.  66  (W.,  p.  20). 

""No  I.  5.  3;  I(ay)  I.  5.  no;  'Sblood  5.  4.  9;  Then  5.  5.  133 
(W.,  p.  50). 


xxviii  Introduction 

the  beginning  of  a  line ;  a  polysyllabic"^  foot  at  the  end  of  a 
line;  a  pause^^^  before  an  interjection;  and  two  trochees^^' 
in  a  line. 

In  order  to  have  a  visible  demonstration  of  the  various 
elements  of  the  five  tests  used  in  the  above  discussion,  the 
text  of  The  Case  is  Altered  was  marked  wherever  there 
was  a  resemblance  to  the  known  works  of  Jonson,  All  the 
scenes  show  some  degree  of  marking.  In  many,  the  marks 
are  quite  numerous,  representing  more  than  one  test,  and 
having  several  examples  of  the  same  test.  This  is  espe- 
cially true  of  the  parallel  passages  in  the  first,  second,  and 
fourth  acts.  The  third  act,  and  the  fifth,  excepting  scene 
2,  do  not  have  so  many  of  these,  but  in  other  respects  the 
average  is  about  the  same.  There  are  more  parallel  pas- 
sages noticeable  in  the  prose  than  in  the  verse,  but  the  dif- 
ference is  small  enough  to  be  negligible.  As  regards 
diction,  the  prose  has  nearly  twice  the  number  of  markings 
found  in  the  verse,  a  circumstance  which  is  not  surprising, 
when  the  character  of  the  words  is  considered.  The  mark- 
ings are  not  confined  to  any  particular  plot,  a  fact  which 
would  tend  to  disprove  the  presence  of  a  collaborator. 
The  parts  that  deal  with  the  Ferneze-interests  are  as 
prominent  in  this  respect  as  those  dealing  with  Jaques,  and 
both  are  almost  as  extensively  marked  as  the  passages  that 
concern  Juniper  and  Onion. 

The  evidence  which  has  been  submitted,  while  not  prov- 
ing conclusively  that  Jonson  wrote  The  Case  is  Altered,  yet 
seems  to  favor  this  conclusion.  Words  and  phrases  that 
constantly  reappear  under  conditions  that  are  similar  must 
have  some  weight,  however  small ;  for  it  will  be  admitted 
that  writers  either  from  choice  or  by  accident  are  prone  to 

*"  Presently  i.  4.  61;  armory,  melancholy  i.  5.  i,  160;  memory, 
ceremony  2.  4.  44,  50;    courtesies  3.  5.  26  (W.,  pp.  47-8). 

"^Boy,  God,  hark  i.  4.  20,  59,  77;  love  I.  5.  215;  faith  2.  3.  13 
(W.,  pp.  50-1). 

""Any,  flowing  i.  5.  63;   Rachel  open  i.  5.  255  (W.,  p.  46). 


Date  xxix 

repeat  themselves.  The  same  may  be  said  of  characters 
and  situations.  In  the  case  of  Jonson,  these  have  special 
significance,  since  his  type  of  satiric  comedy  was  peculiar. 
The  characters  that  have  been  mentioned,  but  especially 
Jaques,  Juniper,  and  Onion,  would  fit  very  well  into  a  play 
such  as  Every  Man  In  or  Every  Man  Out.  The  two^^* 
scenes  which  refer  to  the  character  of  the  drama  and  of  the 
audiences  of  his  day  are  quite  in  line  with  the  criticisms 
we  find  in  his  inductions  and  prologues.  That  one  or  both 
may  have  been  later  insertions  does  not  detract  from 
their  value  as  evidence.  On  the  contrary,  their  value  is 
increased.  An  arraignment  of  this  kind,  inserted  at  a  later 
date,  would  have  more  reason  for  its  existence,  and  would 
suggest  the  opposition  that  Jonson  encountered  from  his 
critics,  a  situation  which  was  not  so  acute  when  he  wrote 
this  play.  Finally,  and  by  no  means  the  least  valuable 
as  evidence,  was  his  familiarity  with  the  classical  writers,^^^ 
and  his  recourse  to  them,  especially  to  Plautus,  for  material 
for  his  dramas. 

C.     Date 

The  Case  is  Altered  has  two  entries  in  the  Stationers' 
Register.     The  first  is  on  January  26,  1608/9  • 
^  -^  ..  Entred  for  their  Copye  vnder  the  handes 

^      of  master  Segar  deputy  to  Sir  George 
Richard  Bonion   ^^cke  and  of  the  wardens  a  booke 
called,  The  case  is  altered. 

The  second  entry  is  dated  July  20,  1609 : 

^,  ..  Entred  for  their  copie  by  direction  of 

„ .  ,       ,  T3  master  Waterson  warden,  a  booke  called 

p.      ,    .  the  case  altered  whiche  was  Entred  for 

J,  H(enry)  Walley  and  Richard  Bonyon  the 

26  of  January  (1609)  last. 

"-I.  I.  86-112;  2.  7.  28-88. 

"°  Cf.  Schelling  i.  538;    Symonds,  Be7t  Jonson,  pp.  51-3. 


XXX  Introduction 

From  the  evidence  we  possess  at  present,  it  cannot  be 
definitely  determined  when  the  play  was  written  or  first 
acted.  All  attempts  to  establish  a  date  begin  with  two 
references.  In  our  play  (i.  i.  107-8),  Onion  tells  Antonio 
Balladino  that  he  is  in  print  as  the  'best  plotter.'  In  the 
Palladis  Tamia,^  published  in  1598  by  Francis  Meres,  and 
entered  on  the  Stationers'  Register  on  September  7  of  that 
■year,  there  is  a  reference  to  'Anthony  Mundye,  our  best 
plotter.'  It  is  generally  agreed  that  Jonson  alludes  to  the 
passage  mentioned  by  Meres.  The  second  reference  is 
found  in  Nashe's^  Lenten  Stuffe,  entered  on  the  Stationers' 
Register  on  January  11,  1598/9,  and  published  in  1599. 
The  reference  is  clearly  to  Juniper  of  our  play,  and  reads : 
'Is  it  not  right  of  the  merry  coblers  cutte  in  that  witty  Play 
of  the  Case  is  altered  f 

Jonson's  reference  to  a  work  registered  in  September, 
1598,  and  Nashe's  allusion  to  Jonson's  play  in  the  January 
following,  would  seem  to  fix  the  date  between  these  two. 
But  the  problem  is  not  so  simple  as  this.  BaskervilP  has 
well  stated  the  difficulties  which  arise  from  such  a  conten- 
tion :  'Lenten  Stuffe  was  in  all  probability  completed  when 
it  was  entered  on  the  Stationers'  Register,  and  it  hardly 
seems  possible  that  in  the  four  mouths  from  September  7 
to  January  11  Meres's  work  was  published,  Jonson's  play 
written  and  probably  acted,  and  Nashe's  work  prepared, 
with  time  for  Jonson  to  make  a  reference  to  Meres  and 
Nashe  to  Jonson.  The  hypothesis  that  the  passage  satiriz- 
ing Munday  was  added  after  the  first  production  of  The 
Case  is  Altered  seems  most  reasonable.'  Furthermore,  the 
manner  in  which  Nashe  refers  to  the  play  would  seem  to 
indicate  that  it  was  well  known,  and  not  a  recent  work. 

^  Smith,  Eliz.  Crit.  Essays  2.  320;  Ingleby,  Shak.  Allusion-Books, 
p.  161. 

*  Works  3.  220. 

*  English  Elements,  p.  91. 


Date  xxxi 

Opinions  vary  as  to  when  it  first  appeared.  Gifford* 
thinks  it  possible  that  the  plot  of  a  play  that  Jonson  showed 
to  Henslowe,  and  for  which  he  received  an  advance  of 
twenty  shillings  on  December  3,  1597,  might  refer  to  The 
Case  is  Altered.  Both  Baskervill^  and  SmalP  are  inclined 
to  believe  that  the  original  version  was  on  the  stage  by  the 
end  of  1597,  or  early  in  1598.  Fleay^  says  it  was  performed 
at  the  Blackfriars  in  November,  1598,  but  does  not  say 
whether  he  regarded  this  as  its  first  performance.  Because 
of  its  reference  to  the  Palladis  Tamia  of  Meres,  Collier* 
and  Ward®  assign  the  play  to  a  time  subsequent  to  this. 
Wheatley's^''  reasons  are  apparently  the  same,  for  he  places 
it  in  1599.  Referring  to  its  early  authorship,  Lounsbury^^ 
says  it  was  written  by  1599,  when  it  was  referred  to  by 
Nashe.  In  view  of  its  reference  to  Meres,  and  because  of 
the  allusion  to  it  by  Nashe,  Castelain^^  is  inclined  to  fix  the 
date  of  the  first  performance  about  December,  1598.  He 
admits,  however,  that  it  might  have  been  performed  earlier 
that  year.  This  brings  us  to  the  discussion  of  the  other 
view — that  the  original  play  was  written  before  Meres' 
publication,  and  that  the  part  which  refers  to  the  latter, 
and  which  was  clearly  intended  to  satirize  Anthony  Mun- 
day,  was  inserted  at  a  later  date.  This  view  has  much  in 
its  favor,  and  has  been  advocated  by  such  scholars  as 
Aronstein,^^  Koeppel,^*  Castelain,^^  Fleay,^^  Baskervill,^^  and 

*  Wks.  I.  xliii-iv;  cf.  Diary  i.  37,  43  (ed.  Greg). 

'^English  Elements,  p.  91. 

°  Stage-Quarrel,  p.  17. 

^  Stage,  p.  153. 

^Annals  i.  342. 

'  History  2.  344,  350. 

^'^  Every  Man  In,  1877,  p.  xii. 

^^Shakespeare,  p.  26. 

"Ben  Jonson,  p.  193. 

^  Ben  Jonson,  p.  21, 

'^*  Quellen-Studien  11.  i,  109,  123. 

^^  Ben  Jonson,  note,  pp.  193-4- 

^^  Drama  i,  357;   Stage,  p.  153. 

^'' Eng.  Elements,  pp.  90-1. 


xxxii  Introduction 

Courthope.^^  By  assigning  the  play  to  an  early  date,  prob- 
ably antedating  Every  Man  In,  Gifford/^  Swinburne,^" 
Schelling,^^  Symonds,-^  and  SmalF^  may  be  said  to  hold  the 
same  opinion. 

In  support  of  a  later  insertion,  the  most  reasonable  argu- 
ment is  that,  after  his  first  entry,  Balladino  disappears  from 
the  play.  The  force  of  the  argument  is  strengthened  by 
the  fact  that  the  incident  is  found  in  the  opening  scene,  a 
place  customarily  utilized  to  explain  to  the  audience  the 
previous  history  of  the  action,  and  briefly  to  mention  such 
facts  about  the  characters  or  about  the  existing  state  of 
affairs  as  will  make  clear  what  is  to  follow.  In  the  original 
draft  of  the  play,  it  is  not  likely  that  Jonson  would  have 
introduced,  at  such  a  point,  an  incident  that  had  no  future 
bearing  on  its  development.  With  a  play,  however,  which 
had  not  satisfied  him — and  this  seems  to  be  the  case  with 
the  present  one — he  might  have  had  no  such  scruples.  As 
evidence  of  such  an  alteration,  the  text  itself  has  an  appar- 
ent discrepancy,  noticed  also  by  Aronstein.^*  In  the  open- 
ing scene  (i.  i.  37-8),  a  request  is  made  of  Balladino  for 
a  'posy'  for  Onion,  to  be  given  to  Rachel.  Later  in  the 
play  (4.  3.  7,  1 1-2;  4.  5.  32-47),  Onion  complaints  of  Val- 
entine for  not  composing  the  promised  ditty. 

Many  circumstances  that  point  to  an  early  authorship  of 
our  play,  and  which  would,  therefore,  tend  to  strengthen 
the  view  that  it  existed  in  some  form  before  its  reference 
to  Meres  was  inserted,  also  bear  upon  the  interesting  ques- 
tion of  its  priority  to  Every  Man  In.  When  contrasted 
with  the  latter,  the  most  noticeable  feature  about  The  Case 

^^  Hist.  Eng.  Prosody  4.  269-70. 

^^Wks.  6.  300;    cf.  Wks.  I.  xliv  (note  6). 

^  Ben  Jonson,  pp.  9,  12. 

^  Elis.  Drama  i.  477-8. 

'^^  Ben  Jonson,  p.  16. 

'^  Stage-Quarrel,  p.  17. 

'*  Ben  Jonson,  p.  17. 


Date  xxxiii 

is  Altered  is  its  immaturity.  This  is  evident  from  almost 
every  angle  from  which  the  play  may  be  regarded.  First, 
consider  the  selection  and  treatment  of  the  sources.  Jon- 
son  was  not  accustomed  to  be  so  dependent  upon  others 
for  his  plots"^  as  he  is  in  this  case.  As  early  as  Every 
Man  In,  his  independence  in  this  respect  is  noticeable. 
The  slight  changes  in  the  major  episodes  borrowed  from 
Plautus,  and  the  presence  of  numerous  sub-plots  to  offset 
the  undeveloped  portions  of  these,  would  seem  to  indicate 
the  work  of  a  novice.  Characters  such  as  Camillo,  the  two 
sisters,  and  even  Rachel,  are  merely  sketched,  and  there  are 
possibilities  for  effective  dramatic  treatment  in  situations 
in  which  they  are  concerned,  which  receive  little,  if  any, 
notice.  The  same  immaturity  is  apparent  in  the  use  of  the 
so  called  dramatic  unities.  His  insistence  on  these,^®  at  a 
period  when  their  observance  was  lightly  regarded,  and  the 
influence  this  exerted  on  the  later  drama,^^  is  well  known. 
The  selection  of  the  Captivi-episode  from  Plautus  made  a 
strict  adherence  to  the  unity  of  time  impossible,  and  the 
union  of  this  with  the  plot  of  the  Aulularia,  though  it  makes 
the  infringement  on  the  unity  of  time  less  noticeable,  yet 
disturbs  the  unity  of  action.  That  Jonson  selected  material 
which  inherently  possessed  elements  that  would  violate  the 
unities,  tends  to  show  that  at  that  time  he  had  not  definitely 
formulated  those  rules  regarding  them  which  he  advocated 
later.2^  Another  feature  of  the  play  which  reveals  the 
immaturity  of  the  author,  and  which  indicates  an  apparent 
testing  of  his  powers,  is  noticeable  in  its  type.  There  is  a 
clear  wavering  between  two  types — on  the  one  hand, 
romantic  comedy,  which  was  dictated  by  the  taste  of  the 
day,    and,    on   the    other,     'humour'-comedy,    dictated    by 

"Cf.  Schelling  i.  536-42;    Symonds,  Ben  Jonson,  p.  52. 
■*  Cf .  Lounsbury,  pp.  25  ff. 
""  lb.,  pp.  37  ff. ;   Buland,  pp.  44-5,  49- 

^Discoveries  9.  225-6;   Ind.  Every  Man  Out  2.  21-3;   cf.  Magnetic 
Lady  6.  28-9. 


xxxiv  Introduction 

the  author's  personal  inclination.  In  the  latter  respect,  the 
attempt  is  evidently  experimental,  and  falls  far  short  of 
the  confidence  and  mastery  exhibited  in  Every  Man  In. 
Regarding  tlie  points  which  have  been  mentioned — the 
manner  of  securing  a  plot,  the  treatment  of  characters  and 
situations,  the  observance  of  the  dramatic  unities,  and  the 
lack  of  confidence  exhibited  in  wavering  between  two  types, 
it  will  be  granted  that  The  Case  is  Altered  is  decidedly 
not  an  improvement  over  Every  Man  In.-^  Where  the 
former  shows  tendencies  of  immaturity,  the  latter  indicates 
an  author  who  has  approached  nearer  to  the  fullness  of  his 
powers. 

At  present,  it  seems  to  be  generally  agreed  among  scholars 
that  Every  Man  In  was  first  produced  in  isqS,^**  as  Jonson 
stated  in  the  last  leaf  of  the  folio  of  1616.  In  view  of  this, 
if  it  is  contended  that  The  Case  is  Altered  was  written 
after  the  Palladis  Tamia  of  Meres  (registered  September 
7,  1598),  Jonson  would  have  been  working  on  two  plays 
at  the  same  time.  This  in  itself  would  not  be  impossible, 
but,  when  the  difference  in  workmanship  is  considered,  it 
seems  improbable.  Judged  by  this  fact  alone,  it  is  unlikely 
that  The  Case  is  Altered  was  written  after  Every  Man  In. 
Jonson  was  not  uncertain  of  his  field  or  his  powers  when 
he  was  writing  the  latter,  and  to  assert  that  it  preceded  our 
play  would  seem  like  an  admission  that  he  had  retrograded. 
From  such  evidence  as  we  possess,  circumstantial  or  internal, 
it  seems  reasonable  to  infer  that  The  Case  is  Altered 
preceded  Every  Man  In,  and  that  the  original  version 
appeared  about  the  latter  part  of  1597. 

**  Cf .  Castelain,  p.  194,  and  note. 

""Aronstein,  Ben  Jonson,  p.  27;    Koeppel,  Wirkung,  p.  109. 


The  Satire  xxxv 

D.     The  Satire 
I.     Anthony  Munday 

Irrespective  of  the  question  of  a  later  interpolation,  the 
part  dealing  with  Antonio  Balladino  is  clearly  intended 
to  allude  to  Anthony  Munday.  Jonson  seems  to  have  been 
careful  that  there  should  be  no  mistake  about  the  identifica- 
tion. The  name  of  Balladino  is  doubly  suggestive,  refer- 
ring to  Munday's  activity  as  a  writer  of  ballads,  and  to  his 
Palladino  of  England,  translated  from  the  French.  Bal- 
ladino was  'pageant-poet'  to  the  City  of  Milan,  and  Mun- 
day held  the  same  office  in  the  City  of  London,  Add  to 
these,  Munday's  characterization  by  Meres  as  the  'best 
plotter,'  and  Jonson's  use  of  the  same  phrase  in  reference 
to  Balladino,  and  the  latter's  identity  seems  reasonably 
certain. 

The  motive  usually  given  for  Jonson's  ridicule  of  Mun- 
day lies  in  the  apparent  distinction  conferred  on  the  latter 
by  Meres  as  'our  best  plotter.'  Two  references  will  be 
sufficient  to  show  the  character  of  the  argument.  Speak- 
ing of  the  title  given  to  Munday,  Collier^  says :  'This  pref- 
erence seems  to  have  excited  the  ire,  if  not  the  envy  of 
Ben  Jonson.'  Hazlitt,^  in  the  same  connection,  says  that 
this  was  'a  distinction  that  excited  the  spleen  of  Ben 
Jonson  in  his  "Case  is  Altered,"  more  particularly,  as  he 
was  omitted.'  Another  reason  for  the  satire  is  proposed 
by  Koeppel.^  He  suggests  that  Jonson's  resentment  against 
Munday  may  possibly  have  been  due  to  a  passage  in  his 
Downfall  of  Robert  Earl  of  Huntington,'^  in  which  there 

^  John  a  Kent,  p.  xHx,  Shak.  Soc,  London,  1851. 
^Downfall,  Introd.  8.  99-100,  Dodsley,  1874. 
*  Wirkung  20.  123-7. 
*8.  135-6,  Dodsley,  1874: 

'Ral.    Ye  protract.  Master  Friar.     I  obsecrate  ye  with  all 

courtesy,  omitting  compliment,  you  would  vouch  or  deign  to 

proceed. 


xxxvi  Introduction 

appears  a  faint  imitation  of  Juniper's  use  of  high-sounding 
words  (i.  2.  6  ff.)- 

The  provocation  for  ridicuHng  Munday  must  have  been 
strong.  If  it  is  a  fact  that  the  satire  is  a  later  addition, 
Jonson  was  put  to  some  labor  in  recasting  the  play.  On 
the  other  hand,  if  the  present  version  is  the  original,  it  will 
be  admitted  that,  as  Balladino  appears  only  in  the  opening 
scene,  Jonson  went  out  of  his  way  to  attack  him.  In  either 
case,  it  may  be  inferred  that  there  were  doubtless  stronger 
reasons  for  Jonson's  displeasure  than  either  Munday's  faint 
imitation  of  his  work  or  the  title  given  to  the  latter  by 
Meres,  which  in  itself  was  probably  not  indicative  of  any 
special  preeminence.  Regarding  this,  the  Reverend  Ronald 
Bayne^  says  that  Munday  was  spoken  of  as  '  "our  best 
plotter,"  perhaps  because  of  his  seniority  and  experience 
as  a  hewer  and  trimmer  of  plays  rather  than  with  any 
reference  to  his  faculty  for  conducting  a  plot  in  the  modern 
sense  of  the  term.'  Munday  may  have  offended  Jonson  by 
some  personal  slight,  or  by  some  derogatory  reference  to 
one  of  Jonson's  early  works,  evidence  of  which  either  has 
been  lost  or  has  not  yet  been  detected.  That  Jonson  had 
written  plays  before  this  time  may  be  inferred  from  the  fact 
that  Meres^  includes  him  among  the  prominent  writers  of 
tragedy.  Another  factor  which  may  have  influenced  the 
satire  was  the  difference  in  ideals  and  work  of  the  two 
men.      Munday's  activities,  especially  with  romances^  and 

Friar.     Deign,  vouch,  protract,  compliment,  obsecrate? 
Why,  goodman  Tricks,  who  taught  you  thus  to  prate? 
Your  name,  your  name?     Were  you  never  christen'd? 

Ral.     My  nomination  Radulph  is,  or  Ralph : 
Vulgars  corruptly  use  to  call  me  Rafe. 

Friar.    O  foul  corruption  of  base  palliardize. 
When  idiots,  witless,  travail  to  be  wise. 
Age  barbarous,  times  impious,  men  vicious !' 

*  Cambridge  Hist.  Eng.  Lit.  5.  348. 

* Palladis  Tatnia,  p.  161  (Ingleby,  Shak.  Allusion-Books). 
'' Cyn.  Rev.  2.  269;    Alch.  4.  146;    New  Inn  5.  325;    Underwoods 
8.  400. 


The  Satire  xxxvii 

ballads,^  included  a  species  of  composition  for  which  Jon- 
son  had  small  regard,  and  which  he  frequently  ridiculed. 
His  work  was  mediocre,  characterized  by  a  lack  of  origi- 
nality, and  produced  chiefly  to  meet  the  popular  taste. 
Jonson,  as  we  know,  departed  from  the  prevailing  type  of 
drama,  and  strove  to  create  a  taste  for  his  own  particular 
kind  of  work.®  He  endeavored  also  to  eliminate  from  the 
drama  the  buffoonery  and  extravagance  which  often  char- 
acterized it,  and,  at  the  same  time,  by  a  more  dignified 
appeal,  to  set  before  his  audience  right  standards  of  con- 
duct. To  a  large  extent,  Munday's  works  contained  those 
elements  which  Jonson  opposed,  and  in  this  fact  we  may 
find,  not  perhaps  the  leading  cause  for  the  satire,  but  at  least 
a  contributing  motive. 

The  satire  is  humorously  treated,  giving  no  sign  of  any 
special  bitterness,  but  its  thoroughness  must  have  been 
none  the  less  effective.  Munday's  character,  standing,  and 
work  are  held  up  to  ridicule.  According  to  Juniper,  Bal- 
ladino  is  exactly  of  the  same  'humour'  as  Onion,  and  then 
he  proceeds  to  call  the  latter  a  rascal  and  a  dunce.  Onion's 
reference  to  scholars,  made  to  include  his  visitor,  may  be 
suggestive  of  pretensions  of  this  nature  made  by  Munday. 
In  spite  of  the  allusion  to  his  ability  as  a  pageant-poet,  he 
seems  to  have  been  quite  successful  in  this  field.  Refer- 
ences to  Munday's  works  and  their  character  are  more 
numerous.  In  1593  he  had  published  his  Paradoxes.  That 
Onion's  love-ditty  is  called  a  'paradox'  is  therefore  sig- 
nificant. No  doubt  many  of  his  pageants  were  made  up  of 
'stale  stuff,'  and  the  same  may  be  said  of  portions  of  his 
plays  that  have  come  down  to  us.  The  'old  decorum'  no 
doubt  alludes  to  pretensions  on  the  part  of  Munday  that 
he  followed  Greek  and  Latin  writers.  In  regard  to  the 
unity  of  time,  this  is  perhaps  true,  especially  with  regard 
to  two  plays  that  were  anterior  to  1598 — Two  Italian  Gen- 

*Cf.  note  on  i.  i.  i. 

*  Aronstein,  Theorie  des  Lustspiels,  pp.  482-3 ;  Symonds,  Ben  Jon- 
son, p.  31. 


xxxviii  Introduction 

tlemen,  licensed  1584,  and  John  a  Kent  and  John  a  Cumber, 
dated  1595.  There  were  no  'kings  and  princes'  in  Jon- 
son's  plays.  The  popular  romances  had  already  contributed 
their  share  to  the  English  drama,  but  Munday  still  busied 
himself  with  them,  not  so  much  in  connection  with  his 
plays,  perhaps,  as  in  translating  and  keeping  them  before 
the  public.  It  will  be  remembered,  too,  that  Jonson  disliked 
the  species  of  buffoonery  and  low  form  of  wit  practised 
by  the  'fool.'^"  Balladino's  statement  that  he  would  not  raise 
his  'vein,'  even  for  'twenty  pounds  a  play,'  is  regarded  to 
be  an  apt  stroke,^^  considering  Munday's  grade  of  work, 
and  the  fact  that  such  a  price  at  this  date  was  beyond  that 
received  by  any  dramatist.  His  dependence  on  the  plot  to 
insure  the  success  of  the  play  was,  as  is  well  known,  quite 
at  variance  with  Jonson's  views.^^ 

It  is  believed  by  some^^  that  Balladino's  reference  to  plays 
which  are  composed  of  'nothing  but  humours'  is  clearly 
an  allusion  to  Every  Man  In.  This  is  probably  true,  for 
all  that  is  said  in  this  connection  seems  to  justify  such 
a  belief.  But  it  is  also  clear  that,  in  the  speech  which 
follows  this.  Onion  is  entirely  in  sympathy  with  Balladino's 
criticism  of  this  type  of  play,  only  he  asserts  that  the 
objectionable  feature  about  them  is — the  kings  and  princes. 
In  this  connection.  Onion  obviously  could  not  have  refer- 
ence to  comedies  of  'humour'  such  as  Every  Man  In 
or  Chapman's  Humorous  Day's  Mirth.  Onion  is  not  noted 
for  being  always  intelligible,  and  the  discrepancy  may  there- 
fore be  intentional.  It  is  more  probable  that  this  is  one 
of  the  places  that  was  not  made  to  harmonize  with  the 
context  when  tlie  satire  on  Munday  was  interpolated. 

Though  the  satire  was,  no  doubt,  directed  chiefly  against 
Munday,  there  is  an  evident  thrust  at  those  who  favor  his 

^°Cf.  Staple  of  News  S.  185-6,  216;   Epigram  115  (8.  218-9). 
^  Cambridge  Hist.  Eng.  Lit.  5.  358 ;    cf .  i.  i.  loo-i,  note. 
"Aronstein,  Theorie,  pp.  478-9;    cf.  Cyn.  Rev.,  Prol.  2.  215  (end). 
"Aronstein,   Ben  Jonson,   p.    17;     Small,   Stage-Quarrel,   p.    17; 
Koeppel,  Wirkung,  p.  109. 


The  Satire  xxxix 

productions,  especially  the  'common  sort/  and  those  who, 
as  Balladino  says,  would  have  him  'make  such  plays.' 
From  the  beginning  to  the  end  of  his  career,  Jonson  seems 
to  have  had  no  respect  for  the  common  people.^*  In  the 
Induction  to  Every  Man  Out  (2.  21),  Asper  is  made  to 
say:  'If  we  fail,  We  must  impute  it  to  this  only  chance. 
Art  hath  an  enemy  call'd  ignorance.'  The  Prologue  to  The 
Alchemist  (4.  10)  begins :  'Fortune,  that  favours  fools  these 
two  short  hours.'  In  The  Magnetic  Lady  (Ind.  6.  6),  his 
opinion  remains  unchanged,  for  he  calls  them  'the  foeces, 
or  grounds  of  your  people,  that  sit  in  the  oblique  caves  and 
wedges  of  your  house,  your  sinful  six-penny  mechanics.' 

The  question  of  when  the  satire  on  Anthony  Munday  was 
inserted  in  the  play  has  recently  been  discussed  by  Mr. 
C.  H.  Crawford.^^  In  Bodenham's  Belvedere,  compiled  by 
A.  M.,  who  is  thought  to  be  Anthony  Munday,  he  points  out 
four  passages  which  are  quoted  from  The  Case  is  Altered. 
His  contention  is  that  Munday  would  not  have  permitted 
selections  from  a  play  that  had  ridiculed  him  to  appear  in 
the  Belvedere.  As  the  latter  was  published  in  1600,  Mr. 
Crawford's  inference  is  that  the  satire  on  Munday  was 
inserted  after  this  date. 

II.     Conduct  of  the  Audience 

Jonson's  reasons  for  criticizing  the  conduct  of  an  audi- 
ence, at  the  early  date  at  which  The  Case  is  Altered  was 
probably  written,  offer  some  interesting  speculations.  Was 
he  speaking  from  observation,  or  experience?  As  a  mem- 
ber of  Henslowe's  company,  he  had  many  opportunities  of 
observing  their  critical  and  unsympathetic  attitude,  and  the 
present  satire  may  possibly  be  the  result  of  these.  It  is 
more  likely,  however,  that  a  more  personal  reason  urged 
this  step,  and  that  some  play  of  his  had  received  rough 

^*Aronstein,  Theorie,  pp.  470-1;   Ben  Jonson,  pp.  17-8;    Symonds, 
Ben  Jonson,  p.  16. 
^^  Notes  and  Queries  10.  11.  41-2. 


xl  Introduction 

treatment  at  the  hands  of  an  audience.  Unfortunately  very 
little  is  known  of  Jonson's  relations  with  the  stage  before  the 
appearance  of  Every  Man  In,  except  that  he  was  employed 
for  a  time  by  Henslowe.^®  Whatever  may  have  been  the 
nature  of  his  work  with  the  latter,  whether  he  was  recast- 
ing old  plays,  or  trying  his  hand  at  new  ones,  we  may 
assume  that  some  of  them  were  performed.  Were  they  all 
well  received?  It  will  be  recalled,  too,  that  Meres^"  (1598) 
enrolls  Jonson  among  those  who  were  noted  as  writers  of 
tragedy,  a  statement  which  obviously  was  based  on  plays 
that  had  appeared  on  the  stage.  The  hostile  reception  of 
one  of  these  would  have  been  sufficient  to  provoke  a 
criticism  against  the  audience. 

There  is  another  possibility,  and  that  is  that  the  satire 
was  inserted  at  the  same  time  as  that  on  Anthony  Munday.^® 
There  are  certain  features  of  the  scene  which  would  favor 
such  a  view.  When  the  scene  opens,  there  is  a  discussion 
on  fencing,  and  Valentine  is  called  upon  to  relate  his  experi- 
ences with  this  art  in  'Utopia.'  He  begins,  but,  at  the  first 
mention  of  theatres,  the  character  of  the  discourse  is 
abruptly  changed,  and,  excepting  the  duel,  there  is  no  return 
to  the  original  subject  of  fencing.  The  criticism  of  an 
audience  is  out  of  harmony  with  the  scene  in  which  it 
occurs,  and  has  no  bearing  on  the  development  of  the  play 
as  a  whole.  Its  only  connection  with  the  latter  is  through 
the  personages  who  take  part.  The  striking  feature  of  the 
criticism  is  its  resemblance  in  tone  and  language  to  that 
which  appears  in  the  Inductions  to  Every  Man  Out  and 
Cynthia's  Revels.  The  treatment  is  more  extensive  in 
these,  but  the  satire  is  intended  to  serve  the  same  purpose — 
to  condemn  the  incompetence  and  insincerity  of  the  critics, 
as  well  as  their  disorderly  behavior.     About  the  year  1600, 

"Ward  2.  302-3;    Symonds,  Ben  Jonson,  p.  15;    Diary  i.  24,  37, 
43.  49,  SI   (ed.  Greg). 
" Palladis  Tamia,  p.  161   (Ingleby,  Shak.  Allusion-Books). 
"  Cf.  Aronstein,  Ben  Jonson,  p.  17. 


The  Satire  xli 

there  would  be  greater  reasons  for  criticizing  an  audience 
than  we  know  to  have  existed  at  the  time  when  The  Case 
is  Altered  was  written.  The  Inductions  to  the  two  plays 
just  mentioned  are  proof  of  this.  In  respect  to  its  charac- 
ter, language,  and  motive,  the  satire  in  the  three  plays  seems 
to  belong  to  the  same  period.  Aside  from  other  considera- 
tions, these  facts  would  tend  to  give  the  impression  that 
the  satire  on  the  audience  was  not  in  the  original  version 
of  our  play. 

In  a  series  of  articles,^^  written  a  few  years  ago  (1903), 
Mr.  H.  C.  Hart  showed  that  most  of  the  words  misused 
by  Juniper  are  to  be  found  in  the  works  of  Gabriel  Harvey. 
He  concludes  from  this  that,  in  the  character  of  Juniper, 
Jonson  intended  to  satirize  Harvey.  The  articles  are  sug- 
gestive in  that  the  words  are  used  by  Harvey,  but,  as  Mr. 
Hart  points  out,  many  of  them  are  found  also  in  Shake- 
speare, Sidney,  Lyly,  Nashe,  Greene,  Marston,  and  others. 
It  is  more  probable,  then,  that  if  Jonson  intended  this  fea- 
ture of  the  play  to  be  a  satire,  he  directed  it  more  against 
the  prevailing  use  of  Latinized  words  than  against  any 
particular  author.^"  This  seems  to  be  more  likely,  because 
there  is  nothing  personal  or  caustic  in  Jonson's  treatment; 
and,  furthermore,  he  had  no  quarrel  with  Harvey.  Where 
Jonson  intends  a  satire  to  be  personal,  he  is  usually  specific 
in  his  means  of  identification.^^  Such,  it  will  be  recalled,  is 
the  case  in  the  satire  on  Munday  in  the  present  play,  and 
that  on  Marston  and  Dekker  in  The  Poetaster.  For  the 
same  reason,  too,  it  may  safely  be  said  that  The  Case  is 
Altered  contains  no  allusions  to  the  two  last  mentioned,  and 
therefore  has  no  share  in  the  so  called  stage-quarrel.^^ 

'^^  Notes  and  Queries  9.  11.  201,  281,  343,  501;   9.  12.  161,  263,  342, 
403. 
="  Cf.  Baskervill,  p.  94- 
"Cf.  Brooke,  p.  374. 
"^  Cf.  Small,  p.  18. 


xlii  Introduction 


E.     Sources 

It  is  generally  known  that  Jonson  found  the  sources  for 
the  two  leading  plots  of  The  Case  is  Altered  in  the  Captivi 
and  the  Aulularia  of  Plautus.  To  what  extent  he  imitated 
Plautus  in  respect  to  incidents  and  phraseology  is  of  special 
interest,  considering  that  he  never  acknowledged  the  play. 
As  the  parallel  passages,  which  have  been  placed  in  the 
notes,  clearly  show  the  use  that  was  made  of  the  phrase- 
ology, no  further  comment  is  necessary.  It  may  be  added, 
however,  that  they  include  all  passages  that  seem  in  any 
way  to  be  reflected  in  our  play,  as  well  as  the  few  that  were 
pointed  out  by  Whalley  and  Gififord.  With  a  view  to  indicat- 
ing the  use  Jonson  made  of  the  incidents,  a  brief  com- 
parison of  the  two  plays  of  Plautus  with  ours  is  subjoined. 

The  characters  in  the  Captivi  which  are  identified  with 
those  in  The  Case  is  Altered  are :  Hegio  with  Count 
Ferneze,  Tyndarus  with  Camillo,  Philopolemus  with  Paulo, 
and  Philocrates  with  Chamont;  in  the  Aulularia:  Euclio 
with  Jaques,  Phsedria  with  Rachel,  and  Strobilus  (servant 
to  Lyconides)  with  Juniper  and  Onion. 

I.  3.  18-29.  I^  the  Captivi,  the  war — or  at  least  that  part 
of  it  which  concerns  the  characters  in  the  play — is  over 
before  the  play  opens  (Prol.  24,  59;   92-6). 

I.  5.  174-96;  cf.  4.  4.  23-8;  5.  5.  1 18-21.  Twenty  years 
before,  Tyndarus,  aged  four  years,  had  been  stolen  by  a 
slave  and  sold;  his  fate  was  unknown  (Capt.,  Prol.  7-10, 
17-20;  759-61,980-1). 

1.  5.  253-61.  In  the  Aulularia,  the  situation,  and  the 
suspicious  nature  of  Euclio,  are  revealed  by  his  attitude 
toward  his  servant,  Staphila  (40-66). 

2.  I.  1-50.  Euclio's  wealth,  inherited  from  his  grand- 
father, is  buried  beneath  the  hearth ;  the  motherless  girl  is 
his  daughter  (Aul,  Prol.  1-27;   67-8). 


Sources  xliii 

2.  I.  50-65.  Euclio's  commands  to  guard  the  house  are 
given  to  Staphila  (Aul.  79-104).  In  this  passage  Jonson 
follows  the  original  quite  closely. 

3.  2.  1-52;  3.  3.  1-50.  Like  Jaques,  Euclio  is  suspicious 
of  everybody:  his  servant,  Staphila  (Aul.  40-66)  ;  all  who 
greet  him  cordially  (105-19);  Megadorus,  the  accepted 
suitor  (178-267,  537-74)  ;  the  servants  of  Megadorus,  who 
are  making  preparations  for  the  wedding  (388-97,  415-48, 
451-9).  In  our  play  these  suspicions  are  directed  chiefly 
against  the  suitors. 

3.  4.  1-54.  The  capture  of  Philopolemus  in  the  war  with 
the  Elians  is  revealed  by  the  Prologue  (Capt.  24-7),  and 
repeated  by  the  Parasite,  Ergasilus  (92-6). 

3.  5.  1-28.  Euclio,  believing  his  gold  to  be  unsafe  in  the 
house,  removes  it  (Aul.  449-50,  460-74,  574-8),  and  decides 
to  hide  it  in  the  temple  of  Faith  (580-6).  Strobilus,  who 
has  been  requested  by  Lyconides  to  spy  on  the  wedding 
preparations  (603-7),  hears  Euclio  invoke  the  goddess  to 
guard  his  gold,  and,  after  the  latter's  departure,  goes  in  to 
investigate  (608-23). 

4.  I.  1-78;  4.  2.  1-5 1 ;  4.  4.  I -3 1.  The  Prologue  explains 
that  Hegio  has  purchased  two  Elian  prisoners  with  a  view 
to  exchanging  them  for  Philopolemus,  who  is  a  prisoner  in 
Elis  (Capt.  1-4,  27-34).  This  transaction  is  again  men- 
tioned by  the  Parasite  (98-101),  and,  in  a  scene  dealing 
mostly  with  the  concerns  of  the  latter,  Hegio  states  that 
the  prisoners  have  arrived  (110-8,  167-72).  The  pris- 
oners enter,  and  the  device  of  exchanging  names,  which 
apparently  had  been  discussed  before,  and  which  is  men- 
tioned in  the  Prologue  (35-41),  is  arranged  on  the  stage 
(195-250).  Arrangements  are  then  completed  by  which 
Philocrates,  the  pseudo-slave,  is  to  return  to  Elis  to  redeem 
Hegio's  son,  Philopolemus,  while  the  supposed  master  is  to 
remain  as  security  (251-360).  Hegio  is  present  at  the 
parting  (361-460). 


xliv  Introduction 

4.  7.  1-115.  While  Strobilus  is  searching  for  the  gold 
in  the  temple,  he  is  surprised  by  Euclio,  dragged  out, 
beaten,  and,  having  been  carefully  examined,  is  released 
(Aid.  624-60).  This  scene  was  closely  imitated  by  Jon- 
son.  The  situation,  however,  is  different,  as  Strobilus 
understands  the  reason  for  his  rough  treatment.  As  Gif- 
ford  has  pointed  out,  there  is  a  difference  in  motive,  too, 
the  discovery  of  the  gold  being  the  prime  object,  for  it  was 
expressly  given  by  the  Lar  to  be  the  wedding  portion  of 
Phsedria  (Prol.  23-7). 

4.  7.  1 16-41.  Euclio  removes  his  gold  to  a  grove  outside 
the  city,  Strobilus  watching  him  from  a  tree  {Aul.  661-81). 
In  the  whole  incident  of  stealing  the  gold  Strobilus  acts 
alone. 

4.  7.  142-98.  Strobilus  tells  how  he  secured  the  gold, 
after  which  he  takes  it  home  and  hides  it  in  a  chest  {Aul. 
701-12). 

4.  8.  1-95.  The  exchange  of  names  between  Philocrates 
and  Tyndarus  is  innocently  revealed  to  Hegio  by  one  who 
knew  both  intimately  (Capt.  498-658).  Tyndarus,  having 
in  vain  tried  to  avert  the  disclosure,  finally  acknowledges 
the  deception,  and  is  put  in  chains,  and  sent  to  the  quarries 

(659-750). 

5.  2.  5-22.  Upon  discovering  the  loss  of  his  gold,  Euclio 
accuses  Lyconides,  who,  having  ruined  the  former's 
daughter,  had  come  to  make  reparation  by  an  offer  of  mar- 
riage (Aul.  713-807).  There  is  no  flight  on  the  part  of 
Phsedria.  She  does  not  appear  in  the  action,  her  voice  only 
being  once  heard  (691-2). 

5.  3,  1-103.  Strobilus,  meeting  his  master,  tells  him  that 
he  has  stolen  Euclio's  gold.  Lyconides  orders  him  to 
restore  it.  Strobilus  then  pretends  that  his  confession  is 
a  joke.     The  rest  of  the  play  is  missing  (Aul.  808-32). 

5.  5.  1-29.  There  is  no  second  appearance  of  Tyndarus 
before  Hegio.  Instead  of  relenting,  his  attitude  toward  all 
his  prisoners  becomes  more  harsh  (Capt.  751-7). 


Sources  xlv 

5.  5.  85-150.  The  return  of  Philocrates  with  Philo- 
polemus  and  Stalagmus  is  announced  to  Hegio  by  the 
Parasite  (Capt.  790-900).  This  is  the  only  appearance  of 
Philopolemus.  He  is  restored  to  his  father,  and  through 
the  confession  of  Stalagmus,  the  slave  who  had  stolen  the 
other  son,  Hegio  learns  that  Tyndarus  is  that  son  (Capt. 
922-1028). 

The  above  analysis  shows  that  the  outline  of  the  story 
found  in  the  two  dramas  of  Plautus  is,  in  the  main,  fol- 
lowed in  The  Case  is  Altered.  As  in  the  Captivi,  a  son  is 
lost  in  childhood ;  twenty  years  later,  a  second  son  becomes 
a  prisoner  of  war;  unrecognized,  the  lost  son  is  brought 
as  a  prisoner  to  the  house  of  his  father,  with  a  young 
nobleman  to  whom  he  acts  as  servant-companion;  the  two 
exchange  names,  and  the  nobleman,  disguised  as  the  ser- 
vant, departs  to  redeem  the  second  son;  the  discovery  of 
tlie  deception  leads  to  the  imprisonment  of  the  servant,  who 
has  remained  as  security;  the  nobleman  returns  with  the 
second  son,  and  the  imprisoned  servant  is  found  to  be  the 
lost  son.  Again,  as  in  the  Aididaria,  there  is  a  miser  with 
a  hidden  treasure,  and  a  motherless  girl  who  is  sought  in 
marriage ;  the  constant  fear  that  all  who  seek  him  know 
of  the  gold,  and  are  plotting  to  steal  it;  the  removal  of 
the  gold  to  a  supposedly  safer  place,  which,  in  reality,  is 
the  means  of  its  loss ;  the  seizure  of  a  suspected  thief ;  the 
hiding-place  of  the  gold  discovered  from  a  tree;  the  grief 
of  the  miser  at  its  loss;   and  its  final  recovery. 

Though  Jonson  retains  the  thread  of  the  story,  it  is  evi- 
dent that  in  his  treatment,  he  has  worked  according  to  his 
expressed  views  of  what  translation  and  imitation  should 
be — 'to  convert  the  substance  or  riches  of  another  poet 
to  his  own  use.'^  On  referring  to  the  parallel  passages,  it 
will  be  seen  that,  except  for  a  few  instances,  he  rarely 
translates,  to  any  extent,  the  words  of  the  original.  The 
analysis  has  shown  that  most  of  the  episodes  of  the  original 

^Discoveries  9.  216. 


xlvi  Introduction 

have  been  altered.  These  alterations  appear  in  the  previous 
history  of  an  episode;  the  identity  of  a  character;  parts 
shared  by  several,  or  the  reverse;  the  compression,  expan- 
sion, or  omission  of  incidents;  the  method  of  announcing 
events ;  the  motivation ;  and  especially  in  the  particulars 
or  details  relating  to  an  episode.  Furthermore,  he  has 
skilfully  interwoven  the  two  plots,  and  with  them  the 
Juniper  episode,  as  well  as  the  sub-plots  treating  of  Paulo 
and  Rachel,  of  the  courtship  of  Rachel  by  Christopher, 
Count  Ferneze,  and  Onion,  and  of  Chamont  and  Aurelia. 
With  the  exception  of  Jaques,  and  of  a  few  traits  notice- 
able in  Count  Ferneze,  Jonson's  debt  to  Plautus,  in  respect 
to  the  personality  of  the  characters,  is  very  small.  This 
phase  of  his  treatment  will  be  discussed  more  fully  in  the 
Evaluation. 

Others  besides  Jonson  constructed  plays,  using  the  Aulu- 
laria^  as  a  basis.  Among  these,  the  following  may  be 
mentioned:  Giovanni  Battista  Gelli,  La  S porta,  Florence, 
1543;  Lorenzo  Guazzesi,  L'Aulularia,  reprinted  at  Pisa, 
1763;  Mohere,  L'Avare,  1667.  Shadwell  (1671)  and 
Fielding  (1733)  each  produced  a  play  called  The  Miser, 
based  on  L'Avare.^  Several  plays  imitate  only  parts.  In 
The  Devil  is  an  Ass  (5.  47),  Jonson  returns  to  the  passage 
already  used  in  our  play  (2.  i.  50-65).  Johnson  (Yale 
Studies  29.  162)  points  out  that  the  same  passage  was 
imitated  by  Wilson  in  his  Projectors,  Act  2,  scene  i.  In 
Alhumasar  (Act  3,  scene  8),  usually  attributed  to  Thomas 
Tomkis,  a  part  of  the  scene  found  in  the  present  play  (4. 
7.  73-83)  occurs. 

As  to  plays  based  on  the  Captivi,^  the  same  motive,^  with 
variations,  was  employed  in  The  Bugbears,  Misogonus,  and 
The  Weakest  Goeth  to  the  Wall.  See  also  Jean  Rotrou,  Les 
Captifs  (1638)  ;   Reinhold  Lenz,  Die  Aussteuer  (1774). 

"  Cf.  Reinhardstoettner,  Plautus,  pp.  255-324. 
'Ward  3.  457  (note  2). 
*  Cf .  Reinhardstoettner,  Plautus,  pp.  324-55. 
'^  Brooke,  p.  403. 


Evaluation  xlvii 

F.     Evaluation    of    THE  CASE  IS  ALTERED 

Jonson's  theory  of  dramatic  composition,  reading,  in 
places,  like  a  page  from  Aristotle's  Poetics,  is  partly  set 
forth  in  his  Discoveries  (9.  221-8).  From  this  it  might 
have  been  expected  that  in  his  dramas  he  would  follow  the 
latter  more  closely.  That  he  did  not  always  do  so  demon- 
strates that  his  interpretation  of  Aristotle  was  broad  enough 
not  to  hamper  his  work.  On  this  point^  he  says  (ib.  9. 
219)  :  'I  am  not  of  that  opinion  to  conclude  a  poet's  liberty 
within  the  narrow  limits  of  laws,  which  either  the  gram- 
marians or  philosophers  prescribe' ;  and  (p.  204)  :  'Let 
Aristotle  and  others  have  their  dues ;  but  if  we  can  make 
farther  discoveries  of  truth  and  fitness  than  they,  why  are 
we  envied?'  Jonson's  work  is  fairly  consistent  with  this 
stand,  and,  in  making  a  critical  study  of  any  of  his  dramas, 
it  will  be  profitable  to  bear  in  mind,  first,  his  sympathetic 
attitude  toward  the  theories  of  Aristotle,  and,  secondly,  his 
avowed  determination  to  make  his  own  laws  when  he 
believed  it  necessary. 

Jonson,  as  we  know,  invented  most  of  his  plots.^  When 
incidents  were  borrowed,  they  usually  comprised  only  a 
small  part  of  the  play,  and  were  transformed  to  suit  the 
situation.  This  was  the  case  with  portions  of  such  plays  as 
Cynthia's  Revels,  Poetaster,  Epicoene,  The  Staple  of  News, 
and  The  New  Inn.  In  the  present  play,  however,  the  out- 
line of  the  plot  was  determined  by  the  sources  derived  from 
Plautus,  a  condition  which  is  somewhat  analogous  to  that 
in  his  Sejanus  and  Catiline.  Whatever  variations  we  find 
are  in  certain  details,  and  in  the  introduction  of  sub-inter- 
ests. The  Captivi  is,  in  the  main,  serious  in  purpose,  with 
a  semi-historical  flavor.  The  Aulularia,  on  the  other  hand, 
is  comic.  A  combination  of  these  two,  with  more  details 
in  the  historical  part,  would  have  given  us  a  type  of  play 

*  Cf.  E.  M.  O.  2.  21-3. 

^  Cf .  Schelling  i.  536  fl. ;    Symonds,  Ben  Jonson,  pp.  55  ff. 


xlviii  Introduction 

of  which  Henry  IV  is  an  example.  The  elements  that 
determine  its  character  as  a  romantic  comedy  were  sup- 
plied by  enlarging  upon  the  undeveloped  part  assigned  to 
Phsedria  in  the  original,  and  by  introducing  the  minor 
love-episode  of  Chamont  and  Aurelia. 

The  play  may  be  said  to  have  three  sets  of  interests. 
The  first  set,  which  concerns  Count  Ferneze,  Camillo, 
Paulo,  and  Chamont,  and  which  is  based  on  the  Captivi, 
may  be  regarded  as  the  main  plot.  Subsidiary  to  this  are 
the  incidents  relating  to  Paulo  and  Rachel,  and  Angelo's 
perfidy;  the  infatuation  of  Count  Ferneze,  Christophero, 
and  Onion,  for  Rachel;  and  the  interest  dealing  with 
Chamont  and  Aurelia.  The  second  set,  which  concerns 
Jaques  and  his  money,  and  which  is  derived  from  the 
Aulularia,  is  almost  as  prominent  as  the  other.  It  is 
joined  to  this,  partly  by  the  incidents  that  relate  to  Rachel, 
and  partly  by  what  we  may  call  a  third  set,  that  which 
concerns  Juniper  and  Onion,  Though  both  appear  in  the 
first  two  sets.  Onion  is  more  prominent  in  the  first,  and 
Juniper  in  the  second.  Loosely  tied  to  these  are  the  Bal- 
ladino  incident;  the  appearances  of  Aurelia  and  Phoenix- 
ella;  the  censure  on  the  audiences  of  the  theatre,  with  the 
subsequent  fencing-bout;  and  the  exhibition  given  by 
Pacue  and  Finio. 

It  is  probable  that  the  number  of  plots  and  incidents,  and 
the  incomplete  development  of  some  of  these,  as  well  as  of 
some  of  the  characters,  were  due  to  a  request  on  the  part 
of  Henslowe  for  a  play  upon  short  notice.  We  know  that 
Jonson  was  connected  with  Henslowe's  company^  about  this 
time  (1597-8),  and  that  he  was  engaged  in  writing  plays, 
and  doing  such  hackwork*  as  was  customary  with  young 
writers.  He  had  perhaps  laid  aside  the  plots  of  the  Cap- 
tivi and  the  Aulularia,  to  be  used  in  future  plays ;  but,  when 

^ Diary  I.  24,  37,  43,  49,  51   (ed.  Greg). 

*Aronstein,  Engl.  Studien  34.  195;  Swinburne,  p.  11;  Symonds, 
Ben  Jonson,  pp.  8,  15. 


Evaluation  xlix 

the  sudden  demand  came,  he  was  forced  to  use  both  plots, 
and  interwove  with  them  the  Juniper-Onion  episode  and 
other  incidents. 

In  a  play  containing  such  a  variety  of  plots,  it  is  not 
surprising  that  Jonson  found  some  difficulty  in  adhering  to 
the  so  called  dramatic  unities.  He  was  usually  rather  care- 
ful in  regard  to  the  imity  of  time,^  believing  it  necessary 
that  the  action  'exceed  not  the  compass  of  one  day'  {Dis- 
coveries 9.  226) .  But,  in  The  Case  is  Altered,  the  time  of 
the  action  is  approximately  one  year.  Near  the  beginning  of 
the  play.  Count  Ferneze  states  that  he  has  lost  a  son  nine- 
teen years  before  (i.  5.  178),  which  at  the  end  he  says  was 
nearly  twenty  years  (5.  5.  118).  Judging  by  the  age  of 
Camillo,  given  on  each  occasion,  the  time  would  be  between 
one  and  two  years.  Plautus  was  not  so  specific  in  this 
detail  as  Jonson.  The  action  of  the  Captivi  is  apparently 
supposed  to  occupy  one  day.  But  this  is  a  physical  impos- 
sibility, considering  that,  in  his  journey  to  redeem  Philo- 
polemus,  Philocrates  had  to  travel  from  Calydon,  uEtolia, 
to  Elis,  and  return.  In  our  play  a  similar  situation  presents 
itself;  Chamont  must  have  time  to  return  to  France  to 
redeem  Paulo.  But  before  this,  Maximilian  and  Paulo 
needed  time  in  which  to  go  to  France,  take  part  in  the  war, 
and  return.  To  have  adopted  the  expedient,  used  by 
Plautus,  of  having  the  war  take  place  before  the  opening  of 
the  play,  would  have  reduced  the  time  by  one  half,  but  it 
would  have  eliminated  one  of  the  charming  features  of  the 
play,  the  constancy  of  Rachel.  In  reality,  however,  the 
lapse  of  so  long  a  time  as  a  year  is  not  noticeable.  This 
is  largely  due  to  the  presence  of  the  Jaques  plot,  which,  at 
the  most,  would  seem  to  occupy  about  two  days.  A  brief 
summary  of  the  time-scheme  will  make  this  clear.  The 
events  of  the  first  three  scenes  in  Act  i,  equal  in  time  the 
length  of  the  meal  which  is  mentioned  at  the  beginning  and 

'  Cf .  Woodbridge,  pp.  16  flF. ;  Buland,  pp.  44  flf. ;  Lounsbury, 
pp.  25  ff. 


1  Introduction 

end  of  this  period.  Scenes  4  and  5  immediately  follow,  and 
the  whole  act,  in  real  life,  should  not  occupy  more  than 
three  hours.  Jaques  enters  for  a  moment  at  the  end  of  the 
act.  The  opening  words  of  his  soliloquy,  in  Act  2,  make 
it  clear  that  he  is  still  excited  over  his  former  entrance, 
which  is  ample  proof  that  no  great  length  of  time  separates 
the  two  acts.  The  first  two  scenes  of  Act  2  give  no  indica- 
tion of  an  unusual  lapse  of  time.  Scenes  3,  4,  5,  and  6  are 
continuous,  and  scene  7  does  not  alter  the  time-scheme.  In 
real  life,  this  act  should  not  occupy  much  over  an  hour. 
That  Act  3,  in  point  of  time,  directly  follows  Act  2,  is 
evident  from  the  interviews  which  Christophero  and  Count 
Ferneze  have  with  Jaques,  an  undertaking  which  each  had 
decided  should  be  attended  to  without  delay.  The  action 
up  to  these  interviews  has  been  fairly  continuous.  There 
has  been  no  special  evidence  of  an  extended  period  of 
time  either  between  acts  or  scenes,  and,  in  actual  experience, 
the  action  would  have  occupied  between  four  and  five  hours. 
But  at  this  point  (Act  3,  scene  4)  a  messenger  enters 
to  inform  Count  Ferneze  that  the  war  is  over,  and  that 
Maximilian  had  returned  with  prisoners.  Act  4  opens 
with  the  entrance  of  Maximilian,  whose  arrival  had  been 
foretold,  thus  apparently  preserving  the  continuity  in  time 
between  the  two  acts.  Scenes  i,  2,  and  4  closely  follow  one 
another.  The  same  may  be  said  of  scenes  3,  5,  6,  and  7. 
There  is  no  gap  between  the  two  groups,  and  there  is  no 
indication  that  any  lengthy  period  of  time  had  passed  before 
the  Count  discovered  the  exchange  of  names.  In  actual 
experience,  the  time  consumed  by  Act  4  would  be  some- 
what over  an  hour.  Acts  4  and  5  are  apparently  con- 
tinuous. In  5.  I.  74,  Angelo  tells  Rachel  that  he  had 
heard  from  Paulo  'by  post  at  midnight  last.'  But  in  scene 
2,  Jaques  discovers  the  loss  of  his  gold,  and,  judging  by  the 
frequency  with  which  he  has  previously  gone  to  see  if  it 
was  safe,  not  much  time  has  elapsed  since  it  was  stolen. 
By  the  appearance  of  Juniper  and  Onion  in  new  apparel, 


Evaluation  li 

and  presumably,  with  a  coat-of-arms,  and  the  speeches  of 
Angelo  (scene  4)  and  the  Count  (scene  5),  it  is  assumed 
that  some  time  has  passed,  but  Cliristophero's  lament  for 
Rachel,  and  Jaques'  for  his  gold,  seem  closely  connected 
with  scene  i.  The  actual  time  consumed  by  Act  5,  from 
the  standpoint  of  the  Jaques  plot,  would  be  about  four  or 
five  hours.  From  the  above  summary,  it  will  be  seen  that 
The  Case  is  Altered  contains  what  is  known  as  a  'double- 
time'  scheme,^  a  condition  sometimes  met  with  in  Shake- 
speare's plays.  One  plot  assumes  the  lapse  of  a  long  period 
of  time,  while  another  plot,  whose  action  is  co-existent  with 
the  first,  seems  to  consume  only  a  fraction  of  the  time. 
This  is  the  case  in  the  two  parts  of  Henry  IV,  where  the 
comic  and  historical  plots  are  developed  simultaneously,  the 
former  occupying  approximately  from  ten  to  twelve  days, 
and  the  latter,  two  or  three  months.^ 

Though  Jonson  does  not  emphasize  the  unity  of  place,  he 
does  not  shift  the  scene  from  one  country  to  another,  or 
from  city  to  city,  as  Shakespeare  does,  say,  in  Macbeth. 
In  this  respect,  the  method  employed  here  is  similar  to  that 
found  in  his  other  plays.  The  action  is  laid  in  Milan,  and 
alternates  between  the  houses  of  Count  Ferneze  and  Jaques. 

The  unity  of  action  deserves  more  attention.  His 
expressed  views  on  this,  if  applied  to  all  his  dramas,  would 
constitute  a  rather  severe  test.  In  one  place,  he  says 
{Discoveries  9.  224)  :  'The  fable  is  called  the  imitation  of 
one  entire  and  perfect  action,  whose  parts  are  so  joined 
and  knit  together,  as  nothing  in  the  structure  can  be 
changed,  or  taken  away,  without  impairing  or  troubling  the 
whole,  of  which  there  is  a  proportionable  magnitude  in  the 
members.'  But  he  insists  also  'that  there  be  place  left  for 
digression  and  art.  For  episodes  and  digressions  in  fable 
are  the  same  that  household  stuff  and  other  furniture  are 

•Cf.  Buland,  pp.  1-20. 

'  Cf.  Daniel,  Trans.  New  Shak.  Soc,  1877-1879,  pp.  279,  288-9. 


lii  Introduction 

in  a  house'  {ib.  9.  226).  The  latter  may  explain,  to  some 
extent,  the  freedom  with  which  he  sometimes  treats  the 
unity  of  action.  A  more  direct  reason  may  lie  in  his 
method  of  constructing  plots.  'He  starts  with  a  group  of 
characters  whose  comic  aspects  he  wishes  to  bring  out. 
To  this  end  he  invents  situations  for  them,  and  by  com- 
bining these  situations,  he  gets  a  plot  for  the  comedy.'^ 
That  this  was  not  his  method  in  The  Case  is  Altered  has 
already  been  shown.^  It  is  clear  also  that,  with  a  second 
plot  as  important  as  the  Jaques  plot,  the  play  does  not  pos- 
sess the  unity  of  action  that  we  find  in  the  Alchemist, 
Volpone,  or  Epicoene.  Whatever  may  have  been  Jonson's 
reasons  for  incorporating  this  episode,  whether  it  was  to 
supplement  the  Captivi  plot,  in  which  he  was  less  interested, 
or  whether  it  was  because  of  a  lack  of  time  properly  to 
develop  one  or  the  other,  we  may  be  reasonably  certain  it 
was  not  done  for  purposes  of  'digression  and  art' ;  for,  if 
we  imderstand  his  meaning,  such  additions  were  to  be 
ornamental,  and  could  be  inserted  or  removed  without 
affecting  the  imity  of  the  whole.  Among  digressions  of 
this  character,  we  may  include  the  fencing-bout  between 
Onion  and  Martino  (Act  2,  scene  7),  and  the  droll  game 
of  salutations  indulged  in  by  Pacue  and  Finio  (Act  4,  scene 
3).  As  was  the  case  with  the  unity  of  time,  the  nature  of 
the  sources  seems  to  have  interfered  with  the  possibility 
of  a  careful  observance  of  the  unity  of  action.  If  we 
regard  a  strict  adherence  to  these  unities  as  immaterial,  it 
may  be  said  that  the  Jaques  plot  does  much  for  the  play; 
in  fact,  its  removal  would  destroy  the  play.  It  helps  the 
time-element,  by  diverting  the  attention  from  the  assumed 
lapse  of  time,  and  it  gives  an  interest  to  the  action  which  is 
not  oflfered  by  the  main  plot. 

*  Woodbridge,  p.  41 ;   cf .  Symonds,  Ben  Jonson,  pp.  51-S ;    Schell- 
ing  I.  535-^- 
•Cf.  Sources;  also,  p.  xlvii  ff. 


Evaluation  liii 

It  may  be  queried,  then,  whether  our  play  has  the  organic 
unity  which  is  usually  seen  in  the  plays  of  Jonson.  An 
analysis  of  its  structure  will  show  this  to  be  the  case.  It 
contains  the  usual  introduction,  a  rising  action,  a  double 
climax,  a  falling  action,  and  a  solution  or  catastrophe.  In 
Act  I,  scenes  3,  4,  and  5,  the  situation  is  explained:  prepara- 
tions are  being  made  for  a  war  with  France ;  Paulo's  love 
for  Rachel  is  revealed  to  Angelo;  and  Count  Femeze 
announces  the  loss  of  Camillo.  Paulo's  departure  for 
France  marks  the  beginning  of  the  rising  action.  In  Act 
2,  the  second  plot  is  introduced.  The  soliloquy  of  Jaques, 
in  scene  i,  explains  the  situation.  In  scenes  2  and  6,  the 
plans  of  the  three  suitors  regarding  Rachel  begin  its  rising 
action.  Scenes  4  and  5  are  explanatory,  giving  an  insight 
into  Angelo's  character.  In  Act  3,  scenes  i,  2,  and  3,  the 
rising  action  is  continued :  Angelo  decides  to  woo  Rachel ; 
and  Qiristophero  and  Count  Ferneze  interview  Jaques 
about  Rachel.  The  entrance  of  the  messenger  in  scene  4 
marks  the  turning-point  of  the  first  plot.  In  scene  5,  the 
removal  of  the  gold  to  the  yard  continues  the  rising  action 
of  the  second  plot,  and  paves  the  way  for  its  turning-point 
in  the  next  act.  Act  4  marks  the  return  or  falling  action 
of  the  first  plot.  Scenes  i  and  2  deal  with  the  return  of 
Maximilian  with  prisoners,  and  the  departure  of  Chamont 
to  ransom  Paulo — circumstances  which  eventually  lead  to 
the  solution.  Phoenixella's  remark  about  Camillo  points  the 
same  way.  In  scene  7,  the  surprisal  of  Juniper  and  Onion 
by  Jaques  marks  the  turning-point  or  climax  of  the  second 
plot.  The  Count's  discovery  of  the  exchange  of  names,  in 
scene  8,  continues  the  falling  action.  The  ruse  of  Angelo 
and  Christophero,  in  Act  5,  scene  i,  precipitates  Jaques' 
discovery  of  his  loss,  and  serves  as  a  secondary  climax  to 
the  second  plot.  The  appearance  of  Juniper  and  Onion,  in 
scene  3,  richly  appareled,  continues  the  falling  action,  since 
it  leads  to  the  discovery  of  the  culprits.     Scene  4,  the  meet- 


liv  Introduction 

ing  of  Angelo  and  Rachel  with  Paulo  and  Chamont,  fore- 
casts the  solution.  The  threatened  execution  of  Camillo, 
and  the  semi-comic  lamentations  of  the  three  victims,  in  the 
first  part  of  scene  5,  serve  to  retard  the  catastrophe,  which 
seemed  to  have  been  approaching  too  rapidly.  The  return 
of  Chamont  finds  all  the  interests  united,  and  brings  about 
the  solution. 

With  the  exception  of  Jaques  and  Count  Ferneze,  the 
characters  in  our  play  have  no  resemblance  to  their  originals 
in  Plautus.  Jaques  and  Euclio  are  so  much  alike  that  the 
former  has  been  called*"  a  mere  copy.  Being  misers,  they 
have  the  traits  common  to  that  class.  They  live  and  dress 
poorly,  and  lay  great  stress  on  their  poverty.  The  suitors 
are  repeatedly  reminded  that  there  is  no  dowry.  The 
natures  of  both  misers  are  so  suspicious  that  all  who 
approach  them  are  regarded  with  distrust.  Oblivious  of 
everything  but  their  gold,  they  treat  their  inferiors  with 
cruelty,  and  their  friends  are  made  to  wonder  at  their 
strange  actions.  If  they  have  a  sense  of  humor,  their 
obsession  prevents  their  displaying  it.  Except  for  Jaques' 
soliloquy  in  Act  2,  scene  i,  neither  shows  any  affection  for 
his  daughter.  In  the  case  of  Jaques,  this  may  be  explained 
by  the  fact  that  Rachel  is  not  his  daughter.  He  is,  perhaps, 
a  little  more  self-contained  than  Euclio.  His  language  is 
more  moderate,  and  he  does  not  rave  in  such  a  melodra- 
matic way  as  the  latter,  when  the  loss  of  the  gold  is  dis- 
covered. From  a  dramatic  standpoint,  Jaques  is  the  most 
imposing  figure  in  the  play.  There  is  usually  action  where 
he  appears,  and  if  he  soliloquizes,  his  words  demand  atten- 
tion. When  he  talks  with  the  Count,  his  deference,  humil- 
ity, and  plea  of  poverty  soften  even  the  Coimt.  When  he 
grasps  Juniper  by  the  hair,  and  alternately  rages  at  the  peril 
of  his  gold,  or  is  bewildered  at  the  strangeness  of  Juniper's 
words,  he  is  the  same  Jaques  who,  at  the  sound  of  any 

"  Ward  2.  351 ;   cf.  Castelain,  pp.  200-4. 


Evaluation  Iv 

human  voice,  runs  into  the  house  to  look  at  his  gold, 
frantically  calling  on  Rachel  and  Garlick  to  aid  him. 

Count  Ferneze  has  a  few  traits  in  common  with  Hegio. 
Under  normal  conditions,  they  are  kind-hearted  and  con- 
siderate. But  anxiety  for  the  safety  of  a  captured  son  has 
brought  their  minds  to  such  a  tension  that  when  they  are 
tricked  by  their  captives,  they  suddenly  become  cruel.  The 
thought  that  they  have  been  imposed  upon  adds  to  their 
bitterness.  Hegio's  cruelty  increases,  whereas  the  Count's 
spends  itself  before  the  son's  return.  Hegio  finds  no  enjoy- 
ment in  anything  but  the  release  of  his  son.  All  his 
thoughts  are  directed  to  this  one  end.  The  Count,  how- 
ever, jokes  with  Angelo,  and  chides  his  daughters  for  their 
interest  in  the  latter.  He  is  a  man  of  moods  and  of 
impulse,  easily  irritated  when  crossed ;  but,  like  men  of  this 
type,  the  mood  does  not  continue  long.  His  interest  in 
Rachel  is  due  to  an  impulse,  inspired,  no  dovibt,  by  the 
very  human  consideration  that  Christophero  was  bent  on 
the  same.  When  he  shows  exasperation  at  his  awkward 
servants,  whom  his  own  impatience  has  confused,  he 
becomes  almost  frantic ;  but  when  Juniper  enters,  a  moment 
later,  to  intercede  for  Onion,  his  equanimity  has  been 
restored.  His  resolve  to  execute  Camillo  for  deceiving  him 
lasts  longer,  for  it  touches  him  more  deeply.  In  spite  of 
his  cruelty  to  the  latter,  he  seems  to  have  been  devoted  to 
his  countess,  and  to  have  had  much  affection  for  Paulo  and 
the  lost  Camillo.  His  character  appears  to  undergo  a 
change  after  his  inability  to  execute  the  latter.  It  does  not 
seem  like  him  to  join  with  Christophero  and  Jaques  in  their 
laments.  After  the  return  of  Chamont,  however,  his 
former  character  is  reassumed. 

The  character  of  Juniper  was  original  with  Jonson.  If 
he  resembles  Strobilus  at  all,  it  is  in  having  no  scruples  in 
taking  Jaques*  money.  But  of  the  traits  of  Juniper's  charac- 
ter which  are  most  prominent,  and  which  attract  us  to  him. 


Ivi  Introduction 

there  is  no  indication  in  Strobilus.  The  most  noticeable  of 
these  is,  of  course,  his  predilection  for,  and  his  misuse  of, 
high-sounding  words.  He  has  acquired  them  somewhere, 
and  uses  them  freely,  and  with  no  further  care  than  that 
they  shall  be  long,  and  resemble  in  sound  the  correct  word. 
Plautus  has  a  suggestion  of  the  use  of  long  words  for  the 
purposes  of  humor,  where  Philocrates  calls  his  father 
'Thensaurochrysonicochrysides'^^  (Capt.  285).  However, 
there  is  this  difference:  the  word  is  coined,  and  per- 
tains somewhat  to  the  situation.  The  pretense  to  learning 
thus  exhibited  is  maintained  on  all  occasions  with  great 
assurance,  accentuated  here  and  there  with  puns,  proverbs, 
and  quotations  from  foreign  languages  and  other  sources. 
With  a  stock  of  this  material  at  his  disposal,  audacious  and 
irrepressible,  care- free  and  good-natured,  Juniper  must 
have  met  with  much  favor  on  the  stage.  This  was  cer- 
tainly not  lessened  when  his  assurance  meets  a  check  at  the 
hands  of  Jaques,  or  when  he  skilfully  evades  a  challenge 
in  an  argument  with  Valentine.  Reminiscences  of  Juniper 
are  seen  in  Simon  Eyre^^  and  Dogberry.^^ 

In  the  incident  with  Jaques,  Juniper  and  Onion  share  the 
part  taken  in  Plautus  by  Strobilus,  who  is  seized  by  Euclio, 
and  later  climbs  a  tree.  Onion  is  the  complete  antithesis 
of  Juniper.  Where  the  latter  is  self-reliant  and  resource- 
ful, the  former  has  to  depend  on  others.  Until  Jaques' 
gold  is  secured,  his  chief  aim  is  to  win  the  favor  of  Rachel, 
and  to  this  end  he  implores  the  advice  and  help  of  his 
friends.  Juniper  is  requested  to  ask  Balladino  for  an 
appropriate  verse;  Christophero  is  asked  to  interview 
Rachel  in  his  behalf;  Valentine  has  evidently  been  ap- 
proached, since  Onion  is  searching  for  him  when  he  meets 
Juniper,  to  whom  he  unbosoms  himself,  and  begs  his  pres- 

*^  Cf .  Plautus,  Miles  Gloriosus  13-4. 

"Dekker,  Shoemaker's  Holiday;  cf.  StoU,  Modern  Lang.  Notes, 
Jan.,  1906,  p.  20. 

^^ Much  Ado  About  Nothing;  cf.  Castelain,  p.  206;  Aronstein, 
Ben  Jonson,  p.  20;    Symonds,  Ben  Jonson,  p.  16. 


Evaluation  Ivii 

ence  at  an  interview  with  Rachel.  Onion  is  not  lacking 
in  self-importance  and  boldness — insolence  would  perhaps 
better  express  it.  He  has  neither  the  merry  and  buoyant 
spirits  of  Juniper,  nor  the  mental  alertness.  In  fact,  as  the 
latter  characterizes  him,  he  is  somewhat  of  a  'dunce.' 
Though  his  language  is  not  so  pretentious  as  Juniper's,  he 
is  never  at  a  loss  in  an  argument.  He  has  a  like  habit  of 
quoting  proverbs  and  popular  phrases.  In  this  he  may  be 
imitating  Juniper,  in  whom  he  had  great  confidence.  Onion 
may  not  have  been  as  acceptable  to  an  audience  as  Juniper, 
but  he  remains  true  to  his  character.  When  he  is  led  away 
to  be  punished,  he  begins  to  beg  for  mercy. 

Of  the  three  girls  in  the  play,  the  sisters,  Aurelia  and 
Phoenixella,  are  of  minor  importance.  From  their  appear- 
ances, we  infer  that  they  are  of  opposite  types.  Ward^* 
characterizes  them  as  'the  sister  qui  pleure  and  the  sister 
qui  rit.'  After  their  mother's  death,  Aurelia,  the  taller  and 
older,  bears  her  mourning  lightly,  and  sees  no  reason  for 
restricting  her  pleasures;  Phoenixella  is  more  serious,  has 
more  regard  for  propriety,  and  derives  her  happiness  from 
'contemplation.'  In  another  play,  and  under  different  con- 
ditions, much  more  could  have  been  made  of  them.  Rachel, 
however,  has  a  more  prominent  part.  Gifford^^  says  of 
her :  'The  character  of  Rachel  is  exquisitely  drawn :  she 
is  gentle  and  modest,  yet  steady,  faithful  and  affectionate.' 
Castelain^^  regards  her  as  the  only  real  young  girl  in  all 
of  Jonson's  plays,  and  regrets  that  more  was  not  made  of 
the  possibilities  her  part  offers.  There  was  very  little  in 
Plautus  to  suggest  the  character  of  Rachel,  unless  it  was 
the  piety  which  Phaedria^^  exhibited,  and  which  won  the 
favor  of  the  household  god.  Outside  of  this — for  piety 
may  be  accorded  to  Rachel — there  is  nothing  in  common 
between  the  two  girls.     The  situation,  too,  is  quite  different. 

^*  History  2.  351-2;   cf.  Castelain,  p.  197. 
"  Works  6.  385. 

^"^  Ben  Jonson,  pp.  197-9;    cf.  Schelling  i.  380, 
"  Aul.  23-8. 


Iviii  Introduction 

More  light  is  shed  on  the  character  of  Jaques,  when  the 
character  of  Rachel  is  considered.  With  no  servant  or 
companion  of  the  opposite  sex  to  take  charge  of  her,  Jaques, 
in  spite  of  his  avarice  and  the  fact  that  she  is  not  his 
daughter,  has  reared  a  girl  whom  all  admire.  But  we  must 
not  forget  that,  when  it  is  necessary  to  decide  between  her 
and  his  gold,  he  grieves  more  for  the  loss  of  the  gold. 
Whatever  Rachel  may  have  felt  about  this  early  period,  she 
is  always  respectful  toward  her  supposed  father.  As  to 
her  attitude  toward  her  admirers,  she  is,  perhaps,  uncon- 
scious of  all  but  Paulo.  There  is  no  record  whether  the 
Count,  Christophero,  and  Onion  ever  succeeded  in  inter- 
viewing her,  or  whether  Jaques  mentioned  their  overtures. 
Her  confidence  in  Angelo,  the  friend  of  Paulo,  prevents  her 
from  perceiving  his  intentions.  Aurelia  seems  at  first  to 
have  shown  some  preference  for  Maximilian,  and  to  have 
touched  the  susceptible  Angelo,  but  Rachel  has  no  thought 
of  admiration.  Angelo's  treachery  is,  perhaps,  a  revelation 
to  her.  Worthy  of  confidence  herself,  she  believes  all  are 
to  be  trusted.  It  is  in  keeping  with  her  character  that  she 
intercedes  for  Angelo,  when  Paulo  would  have  rejected 
him.  It  would  seem  as  if  more  could  have  been  made  of 
her  in  the  recognition-scene.^*  But  Jonson  had  many  loose 
ends  to  tie,  and  the  action  was  converging  to  the  point  where 
it  was  necessary  to  omit  details,  and  to  deal  only  with 
essentials. 

Paulo,  Camillo,  and  Chamont  owe  nothing  to  Plautus, 
except  the  parts  they  take  in  the  action.  Philopolemus, 
who  is  identified  with  Paulo,  is  scarcely  more  than  a  name, 
appearing  only  in  the  closing  scene.  Megadorus  and 
Lyconides,  the  suitors  of  Phsedria,  are  identified  with  no 
one  in  our  play.  The  part  of  the  successful  suitor,  borne 
by  Lyconides,  is  transferred  to  Paulo.  The  character  of 
the  latter  is  somewhat  colorless,  due,  no  doubt,  to  his  few 

"  Cf.  Castelain,  pp.  199-200. 


Evaluation  lix 

appearances.  In  the  earlier  of  these  he  gives  promise  of 
being  worthy  of  such  a  character  as  Rachel's,  but  in  his 
last  appearance,  when  he  arraigns  Angelo  for  his  treachery, 
this  is  not  realized.  His  judgment  is  at  fault  in  trusting 
Angelo,  whose  vacillating  character  seems  to  have  been  clear 
to  everybody.  His  senseless  ranting  at  his  friend's  perfidy 
demonstrates  a  lack  of  poise.  Camillo's  character  is  appar- 
ently more  admirable  than  his  brother's,  though  at  times 
he  resorts  to  the  same  extravagant  language.  His  loyalty 
to,  and  his  faith  in,  Qiamont,  in  face  of  a  threatened  execu- 
tion, are  not  mentioned.  Even  the  manner  in  which  he 
received  the  disclosure  of  his  birth  is  passed  over.  Here 
again  were  dramatic  possibilities  which  were  not  utilized.^^ 
The  little  we  see  of  Qiamont  produces  a  favorable  impres- 
sion. Christophero's  character  is  shown  in  his  blustering 
rule  over  his  fellow-servants,  his  infatuation,  and  in  the 
ease  with  which  Angelo  dupes  him  by  depriving  him  of 
both  his  sweetheart  and  his  money.  Balladino^"  and  Maxi- 
milian^^  have  been  discussed  elsewhere.  Colonnia  appears 
at  various  times,  but  has  no  vital  relation  to  the  action. 
Angelo,  the  false  friend,  is  perhaps  more  clearly  and  con- 
sistently drawn  than  any  of  the  minor  personages.  A  hint 
that  he  is  not  to  be  trusted  is  given  by  Paulo  before  his 
entrance.  Count  Ferneze  reveals  another  trait  by  saying: 
'He  will  swear  love  to  every  one  he  sees.'  Angelo's  remark, 
when  Aurelia  praises  Maximilian,  shows  he  likes  attention, 
and  resents  being  displaced.  Rachel's  beauty,  not  her 
character,  evidently  attracts  him.  His  soliloquy,  however, 
at  the  beginning  of  Act  3,  summarizes  his  character. 
Valentine  has  two  points  of  interest:  he  represents  the 
traveler,  a  type  that  is  often  referred  to  by  Jonson;  and, 
in  a  small  way,  his  part  is  analogous  to  that  of  Asper,*^ 

**Cf.  Castelain,  pp.  199-200. 
*"  See  p.  XXXV  ff. 
'^  See  p.  xxii. 
=*  E.  M.  O. 


Ix  Introduction 

Crites,^'  and  Horace-* — that  is,  he  is,  for  the  time,  Jonson's 
mouthpiece.  This  is  said,  of  course,  in  reference  to  the 
criticism  of  an  audience  found  in  Act  2,  scene  7.  In  other 
respects,  his  character  may  be  said  to  be  negative. 

The  sources  of  comic  effect  are  next  to  be  considered. 
Jonson,  with  Aristotle  in  mind,  says^°:  'The  moving  of 
laughter  is  not  always  the  end  of  comedy,'  especially,  not 
the  kind  that  'either  in  the  words  or  sense  of  an  author 
or  in  the  language  or  actions  of  men  is  awry  or  depraved.' 
Referring  to  ancient  comedy,  he  includes  in  this  'all  inso- 
lent and  obscene  speeches,  jests  upon  the  best  men,  injuries 
to  particular  persons,  perverse  and  sinister  sayings,'  and 
particularly  where  the  Old  Comedy  'did  imitate  any  dis- 
honesty, and  scurrility  came  forth  in  the  place  of  wit.' 
This  view  is  emphasized  in  his  dedication  to  Volpone.  In 
this  respect,  the  tone  of  The  Case  is  Altered  is  especially 
high.  The  humor  is  always  clean  and  wholesome.  The 
comic  element  is  confined  almost  entirely  to  the  miser-plot, 
and  is  furnished  chiefly  by  Jaques,  Juniper,  and  Onion. 
Its  sources  are  three — eccentricities  of  character,  situations, 
and  unusual  words  and  expressions.  The  three  characters 
mentioned  above  have  peculiarities  which  would  render 
them  humorous  in  any  situation.  A  miser  is  admittedly 
eccentric.  Unrest  and  suspicion  accompany  this  type  of 
character,  and  serve  to  intensify  his  actions.  With  a  hoard 
of  money  to  guard,  and  given  a  marriageable  daughter,  a 
miser  is  in  a  more  difficult  position,  and  his  eccentricities 
are  sure  to  be  magnified.  Juniper's  self-assurance  and 
elaborate  vocabulary,  and  Onion's  cowardice  and  stupidity, 
constitute  eccentricities  which  are  fit  subjects  for  comic 
treatment.  Count  Ferneze,  though  not  primarily  a  comic 
character,  has  a  tendency  to  be  so  at  times,  because  of  his 
irascible  temper.     The  best  example  of  this  is  of  course  in 

»C.  R. 
'*Poet. 
'^Discoveries  9.  222. 


Evaluation  Ixi 

Act  I,  scene  5,  where  the  humor  of  the  situation  Hes  in  the 
mental  paralysis  which  has  seized  every  one,  because  of  the 
Count's  impatience  and  irritability.  Of  the  dozen  or  so 
comic  situations,  where  the  humor  rises  primarily  from  the 
situation,  that  in  Act  4,  scene  7,  is  decidedly  the  best. 
Something  of  the  kind  is  to  be  expected  when  the  three 
chief  comic  agents  are  brought  together  for  the  first  and 
only  time.  It  is  fitting,  also,  that  the  two  most  eccentric 
characters  shall  grapple,  and  that  Onion  shall  play  the  fool 
from  a  safe  position.  Act  5,  scene  3,  seems  to  introduce 
drunkenness  as  a  source  of  comic  effect,  something  rare 
with  Jonson.  Of  the  drinking-scene  in  Bartholomew  Fair 
(4.  455),  Gifford  says:  'His  object  undoubtedly  was  to 
inculcate  a  contempt  and  hatred  of  this  vile  species  of 
tavern  pleasantry.'  Reference  is  made  to  a  case  of  drunk- 
enness in  Every  Man  In  {1.  144),  but  there  is  no  presenta- 
tion of  it  on  the  stage.  In  our  play,  the  emphasis  seems 
to  be  laid,  not  so  much  upon  their  condition,  as  upon  other 
features,  such  as  the  incongruity  in  their  apparel,  and  the 
employment  of  a  page.  The  third  source,  words  and 
phrases,  includes  words  misused,  puns,  proverbs,  scraps 
from  foreign  languages,  apparent  quotations  from  contem- 
porary plays,  and  expressions  from  other  sources  which  had 
become  popular.  Some  of  the  humor  in  these  lies  in  the 
comparison  they  invite,  of  the  situation  in  which  they  are 
found  with  the  present.  The  introduction  of  Pacue,  speak- 
ing a  foreign  language,  is  another  comic  element.  This 
device  was  quite  popular,^®  but  there  is  very  little  of  it  to 
be  found  in  Jonson.^'' 

The  aim  of  the  play  is  not  satirical,  though  it  has  parts 
that  are  intended  as  a  satire.     The  allusion  to  Anthony 

*Cf.  Dekker,  Shoemaker's  Holiday,  Wonder  of  a  Kingdom,  and 
his  masque  with  Ford,  The  Sun's  Darling;  Lodge,  Wounds  of  Civil 
War;  Middleton,  Anything  for  a  Quiet  Life;  Jack  Drum's  Enter- 
tainment;  L.  L.  Lost  (Act  S,  scene  i). 

""  Alch.  4.  125-34;  D.  A.  s.  I4S-6;   Tub  6.  128  ff.  (dialect). 


Ixii  Introduction 

Munday  will  be  recalled.  Here,  too,  an  opportunity  seems 
to  be  taken  to  show  disapproval  of  the  insipid  material  used 
for  plays,  and  of  the  poor  taste  of  those  who  favored  them. 
Another  instance  is  the  arraignment  of  the  audiences  in  a 
theatre.  Both  of  these  have  been  discussed  under  Satire. 
As  a  comedy,  what  can  be  said,  then,  of  The  Case  is 
Altered,  and  how  does  it  compare  with  the  other  plays  of 
Jonson?  The  fact  that  the  title-page  states  it  had  been 
'sundry  times'  acted  would  suggest  that  it  had  been  received 
with  some  favor.  The  reference  to  it  by  Nashe^®  seems  to 
indicate  that  the  play  was  well  known,  and  quotations 
from  it  made  in  Bodenham's  Belvedere^^  confirm  this  view. 
Meagre  as  it  is,  such  external  evidence  as  we  have  attests 
its  popularity.  On  the  other  hand,  a  perusal  of  it,  or  a 
more  detailed  study,  will  demonstrate  that  it  was  worthy 
of  recognition.  The  above  analysis  has  shown  some  of  its 
strong  points,  as  well  as  the  weak  ones.  The  selection  of 
two  diverse  plays  from  Plautus,  with  the  outline  of  each 
practically  retained,  offered  many  problems  for  the  har- 
monious development  of  a  new  play.  By  this  the  scope  of 
the  new  play,  if  not  its  character,  was  largely  predetermined, 
and  the  freedom  with  which  Jonson  usually  worked  in 
devising  his  plots  was  somewhat  circumscribed.  Yet  it  will 
be  admitted  that  tlie  task  was  managed  with  great  skill. 
Though  his  theory  of  dramatic  unity  suffered  somewhat, 
there  is,  nevertheless,  an  inner  or  organic  relation  main- 
tained ;  and  his  treatment  of  the  unity  of  time  was  cleverly 
effected.  The  borrowed  characters  were,  for  the  most 
part,  transformed,  showing  very  few  traits  of  the  originals. 
Some  of  the  more  prominent  of  these  were  not  so  fully 
drawn  as  their  parts  seem  to  warrant.  No  doubt  he  was 
more  interested  in  the  comic  characters  and  the  situations 
that  concerned  them — a  view  which  is  substantiated  by  his 
later  success  in  this  field.  The  words  and  phrases  that 
are  used  as  comic  devices,  and  which  so  often  recur,  tend 

'^Lenten  Stuff e  (Wks.  3.  220). 
"Ci.  Index. 


Evaluation  Ixiii 

to  make  some  parts  of  the  play  a  little  tedious.  But,  as  a 
rule,  the  pleasantries  are  wholesome,  and  there  are  no 
portions  which  we  should  prefer  to  excise. 

The  statement^"  that  Jonson  was  not  interested  in  treat- 
ing love-episodes  is  doubtless  true.  In  our  play,  however, 
he  has  shown  that  he  could  treat  this  topic  with  a  fair 
measure  of  success,  if  the  occasion  required.  The  modesty, 
constancy,  and  refinement  of  Rachel  are  drawn  with  a  nice- 
ness  of  touch  that  is  not  found  in  Awdrey  in  A  Tale  of  a 
Tub;  and,  for  dramatic  interest,  her  part  is  superior  to  that 
of  Lady  Frampul  in  The  New  Inn,  and  Julia  in  The 
Poetaster.  On  the  other  hand,  neither  is  the  structure  of 
our  play  as  perfect,  nor  its  interest  as  intense,  as  that  of 
The  Alchemist,  Volpone,  or  Epiccene.  A  wider  range  of 
episodes,  too,  is  offered  in  Every  Man  In,  Every  Man  Out, 
and  Bartholomew  Fair.  Its  humor,  though  not  so  broad  or 
so  varied  as  in  the  last  mentioned,  is  nevertheless,  good- 
natured,  and,  in  this  respect,  and  in  its  freedom  from  boister- 
ous features,  it  is  noticeably  superior  to  many  of  the  others. 
The  personal  satire  is  not  elaborate,  as  in  Cynthia's  Revels, 
nor  bitter,  as  in  The  Poetaster.  In  fact,  considering  that 
the  Balladino-incident  is  evidently  a  later  insertion,  the 
original  play  may  be  said  to  have  been  free  from  personali- 
ties. His  descriptions  of  characters  are  often  long  and 
tedious,  and,  while  the  action  waits,  the  interest  necessarily 
flags.  In  this  respect  our  play  is  more  fortunate  than  some, 
containing  only  a  few,  and  these  short  and  concise,  as  con- 
trasted with  the  many  found  in  such  plays  as  Every  Man 
Out  and  Cynthia's  Revels.  It  surpasses  the  latter  in  not 
being  so  unwieldy,  and  it  is  more  spontaneous,  and  has  more 
freshness  and  elegance,  than  the  plays  written  after  Bar- 
tholomew Fair.  Finally,  its  clearness  is  not  obscured  by 
allegory,  as  is  the  case  with  Cynthia's  Revels  and  The 
Poetaster. 

*°Castelain,  p.  199;  Symonds,  Ben  Jonson,  pp.  53-4;  cf.  citation 
from  Dryden,  supra,  p.  xv;    Lounsbury,  p.  119. 


Ixiv  Introduction 

As  a  romantic  comedy,  it  is  more  like  Shakespeare's  early 
plays  than  Jonson's,  Though  it  is  not  to  be  ranked  so  high 
as  the  Two  Gentlemen  of  Verona,  the  two  plays  have  much 
in  common.^^  The  kind  of  humor  practised  by  Juniper  and 
Onion  finds  its  counterpart  in  that  of  Speed  and  Launce; 
the  friendship  of  Paulo  and  Angelo,  the  duplicity  of  the 
latter,  and  their  reconciliation,  are  reminiscent  of  Valentine 
and  Proteus;  and,  for  her  constant  and  loving  character, 
Rachel  deserves  to  be  compared  with  Julia. 

It  is  a  source  of  common  regret^^  that  Jonson  did  not 
produce  more  of  this  type  of  drama,  when  he  seems  to  have 
made  such  a  promising  start.  His  originality  and  inde- 
pendence, however,  as  well  as  his  inaptitude,  would  seem  to 
explain  the  course  he  finally  pursued.  Because  of  his 
decided  views  on  the  life  of  the  day,  and  the  attitude  he 
assumed  toward  the  drama,  he  would  naturally  not  adopt 
a  type  of  composition  which  would  be  contrary  to  the  task 
he  had  set  for  himself,  and  which  would  necessarily  limit 
his  powers. 

The  ease  with  which  The  Case  is  Altered  lends  itself  to 
presentation  on  the  stage  was  recently  shown  when  it  was 
performed  by  the  students  of  the  University  of  Chicago. 
In  a  letter  dated  April  3,  191 5,  Professor  Richard  G.  Moul- 
ton,  who  was  asked  to  give  his  impression  of  the  play 
judging  from  these  performances,  has  kindly  submitted  the 
following  comments:  'The  presentation  of  The  Case  is 
Altered  in  1902  was  a  conspicuous  success,  with  large  and 
appreciative  audiences.  I  attribute  the  success  very  largely 
to  the  fact  that  the  antiquities  of  the  Elizabethan  stage  were 
maintained,  and,  as  a  part  of  this,  that  an  Elizabethan 
audience  was  part  of  the  presentation.  There  was  a  stage 
for  the  play,  and  a  fore-stage  for  the  Elizabethan  audi- 
ence— some  200  of  them,  in  appropriate  costume,  and  with 

"Aronstein,  Ben  Jonson,  pp.  19-20;    Woodbridge,  pp.  75-7. 
**  Swinburne,  p.  11;    Symonds,  Ben  Jonson,  p.  16;    cf.  Aronstein, 
Ben  Jonson,  pp.  21-2. 


Evaluation  Ixv 

considerable  "business,"  such  as  would  represent  the  free 
behavior  of  a  theatrical  audience  in  those  days.  Queen 
Elizabeth,  I  remember,  had  a  private  box.  I  am  afraid 
that,  at  this  distance  of  time,  I  cannot  say  anything  useful 
about  the  details  of  the  play,  beyond  that  I  was  favorably 
impressed  with  its  acting  qualities.  But  there  is  no  doubt 
that  the  combination  of  play  and  scenic  audience  was  most 
entertaining ;  my  impression  at  the  time  was  that  it  was  one 
of  the  most  successful  stage-spectacles  that  I  had  seen.'  In 
the  same  connection.  Professor  Albert  H.  Tolman  writes 
(June  13,  1915)  :  'The  impression  of  the  play  that  has 
staid  in  my  mind  may  be  briefly  stated  thus:  The  play 
proved  to  be  full  of  effective  situations  that  came  out  with 
great  force  in  the  acting.  This  was  especially  true  of  the 
role  of  Jaques  de  Prie,  the  miser.  The  exchange  of  names 
between  the  two  friends,  Camillo  and  Lord  Chamont,  and 
the  explanation  of  this  later  in  the  play,  were  so  huddled  up 
that  they  made  little  impression.'  Professor  David  A. 
Robertson,  who  took  the  part  of  Jaques  in  this  performance, 
writes  (April  22,  1915)  :  'Professor  Manly  has  turned  over 
to  me  your  letter  with  respect  to  "The  Case  is  Altered." 
.  .  .  Speaking  as  a  participant,  I  may  say  that  the  play 
lent  itself  easily  to  presentation.' 

The  interest  and  enthusiasm  with  which  a  revived  play 
of  this  character  is  received  cannot  justly  be  regarded  as  a 
criterion  by  which  its  dramatic  qualities  are  to  be  judged. 
In  this  particular  instance,  much  of  the  success  was 
due,  as  Professor  Moulton  says,  to  somewhat  extraneous 
features  such  as  the  retention  of  the  antiquities  of  the 
Elizabethan  stage,  and  to  the  inclusion  of  a  typical  Eliza- 
bethan audience  as  a  part  of  the  presentation.  Professor 
Gayley's  views  coincide  with  those  expressed  by  Professor 
Moulton.  Speaking  of  the  present  play,  and  others  that 
have  been  recently  revived  by  stage-societies  and  universi- 
ties, he  adds^^ :  'But  the  interest  evoked  has  been  historical 

**  Repr.  Eng.  Com.  2.  xiii. 


Ixvi  Introduction 

and  literary,  rather  than  dramatic.'  Aside  from  the  spectac- 
ular features  which  aided  the  performance  under  discussion, 
it  is  clear,  as  Professor  Tolman  and  Professor  Robertson 
testify,  that  The  Case  is  Altered  possesses  evident  act- 
ing qualities,  and  that  these  contributed  their  share  to  its 
success.  The  episodes  have  considerable  action,  and  the 
action  moves  forward  with  a  fair  degree  of  rapidity  to  the 
catastrophe,  carrying  suspense  as  well  as  interest  in  its 
wake.  Furthermore,  characters  such  as  Jaques,  Juniper, 
Count  Ferneze,  and  Rachel,  are  sufficiently  diverse  to 
intensify  this  interest,  and  to  broaden  the  scope  of  the 
play. 


THE  CASE  IS  ALTERED 


TEXT 


EDITOR'S  NOTE 

The  text  is  a  reproduction  of  an  original  quarto  of  1609, 
owned  by  Mr.  W.  A.  White,  New  York  City.  No  changes 
have  been  made  in  spelHng,  punctuation,  capitalization,  or 
italics.  Acts  and  scenes  are  not  indicated  after  Act  4, 
scene  i,  and  these  have  been  supplied  from  that  point.  The 
quarto  has  no  pagination.  The  footnotes  to  the  text  com- 
prise all  variants  of  the  five  copies  of  the  quarto  which  were 
collated,  important  stage-directions  added  by  Gifford,  and 
significant  emendations  made  by  Whalley  and  Gifford. 

B.  Copy  of  the  quarto  in  the  Bodleian  Library  at 
Oxford. 

D.     Copy  in  the  library  of  the  Duke  of  Devonshire. 

Mi,  M2.     Copies  in  the  British  Museum. 

G.     Gifford. 

W.    Whalley.  * 


A  PIcafant  Comedy, 

CALLED: 

The  Cafe  is  Alterd. 


As  it  hath  bccnc  fundiy  tkncs  ailed  by  the 
children  of  thcBlack-fiicis. 

Written  by  B I  «♦  Ion  sow* 


and  are  to  be  fold  at  the  great  North-doorc 
of  Saint  Paules  Church.     1 6  o  p. 

[B] 


BEN:  lONSOK 


HIS 


CASE    IS    ALTERD. 


As  it  hath  beene  fundry  times  Aded  by  the 
Children  of  the  Blacke-fricrs. 


Jit  LONDOli^ 

Printed  for  Sarthalomcw  Sutton,  dwelling  in  Paules 
Church-yard  nccrc  the  great  north  doorc  of  S.^ 
P«ules  Church,      i#o^, 

[Ml] 


A  Pleafant  Comedy, 

CALLED; 

The  Cafe  is  Alcerd. 


Asitliath  hccncfundiy  times  a<ficd  by  the 
children  of  the  Black-friers. 


lONDOTi^ 
Printed  for  BdrthjUmew  Suttan,  ^ind H^sSUm  B4rref$^er, 
and  arc  to  be  fold  ar  the  great  Nonh-doorc 
of  Saint Paulcs Church,      i  60p, 

[D] 


THE  PERSONS  OF  THE  PLAY 


Count  Ferneze. 

Lord  Paulo  Ferneze,  his  Son. 

Camillo  Ferneze,  supposed 

Gasper. 
Maximilian,  General  of  the 

Forces. 
Chamont,  Friend  to  Gasper. 
Angelo,  Friend  to  Paulo. 
Francisco  Colonnia. 
Jaques  de  Prie,  a  Beggar. 
Antonio  Balladino,  Pageant 

Poet. 
Christophero,  Count  Ferneze's 

Steward. 
Sebastian,  1 
Martino, 

ViNCENTIO, 

Balthasar, 


his  Servants. 


Valentine,  Servant  to  Colonnia. 
Peter  Onion,  Groom  of  the  Hall. 
Juniper,  a  Cobler. 
Pacue,  Page  to  Gasper. 
FiNio,  Page  to  Camillo. 
Page  to  Paulo. 


Aureua,  )  Daughters  to 

Phcenixella,  )      Count  Ferneze. 
Rachel  de  Prie. 


Sewer,  Messenger,  Servants,  etc. 


SCENE— Milan. 


[A  list  of  the  Dramatis  Personae  does  not  appear  in  the  quarto. 
For  purposes  of  convenience,  the  list  given  by  Giflford  is  reproduced.] 


^^^^^^^^^^^ 


A  pleafant  Comedy  called,  the 
Cafe  is  Alter d. 

Actus  primi,  Scaena  prima. 

Soundf  after  a  flonrifh:    luniper  a  Cobler  is  difcouered, 
fitting  at  worke  in  his  fhoppe  and  finging. 

luniper,  Onion,  Antony  Baladino. 

OV  wo  full  wights  giue  eare  a  while. 
And  marke  the  tenor  of  my  ftile. 
Which  fhall  fuch  trembling  hearts  vnfold 
As  feldome  hath  to  fore  bene  told. 

Knter  Onion  in  haft. 

Such  chances  rare  and  dolefull  newes    Oni.  fellow  luniper  5 

Peace  a  Gods  name. 

As  may  attempt  your  wits  to  mufe.  Oni.  Gods  fo,  heere  man. 

A  pox  a  God  on  you. 

And  caufe  fuch  trickling  teares  to  paffe, 

"Except  your  hearts  be  flint  or  braffe:        Oni.  luniper,     10 

To  heare  the  newes  which  I  fhall  tell,  luniper. 

That  in  Caftella  once  befell. 

Sbloud,  where  didft  thou  learne  to  corrupt  a  man  in  the 

midft  of  a  verfe,  ha? 

Onion.     Gods  lid  man,  feruice  is  ready  to  go  vp  man,     15 

you  muft  flip  on  your  coate  and  come  in,  we  lacke 

waiters  pittyfully. 

lunip.     A  pittifull  hearing,   for  now   muft   I  of  a 

merry  Cobler  become  mourning  creature. 

A  .  .  .  called,]  om.  G  Sound?]  om.  G  a  Cobler]  am.  G 

Onion,  .   .   .  Baladino.]  om.  G    Antouy  B  8  a  God]  om.  G 

12  Cuftella  W  19  [a]  mourning  G 


lo  A  pleafant  Comedy,  called  [Act  i 

Onion.     Well  youle  come.  'Exit  Onion.     20 

lunip.  Pre/ to.  Go  to,  a  word  to  the  wife,  away, 
flie?  vanifh:  Lye  there  the  weedes  that  I  difdaine  to 
weare. 

Anto.     God  faue  you  Maifter  lumper. 

luni.     What   Signior   Antonio    Balladino,    welcome     25 
fweet  Ingle. 

Anto.     And  how  do  you  fir? 

luni.     Faith  you  fee,  put  to  my  fhifts  here  as  poore 
retainers  be  oftentimes,  firrah  Antony  ther's  one  of 
my  fellowes  mightely  enamored  of  thee,  and  I  faith  you     30 
flaue,  now  your  come  I'le  bring  you  together,  i'ts  Peter 
Onion,  the  groome  of  the  hal,  do  you  know  him. 

Anto.     No  not  yet,  I  affure  you. 

luni.  O  he  is  one  as  right  of  thy  humour  as  may 
be,  a  plaine  fimple  Rafcal,  a  true  dunce,  marry  he  hath  35 
bene  a  notable  vilaine  in  his  time :  he  is  in  loue,  firrah, 
with  a  wench,  &  I  haue  preferd  thee  to  him,  thou  fhalt 
make  him  fome  prety  Paradox  or  fome  Aligory,  how 
does  my  coate  fit?  well. 

Anto.     I  very  well.  Enter  Onion.     40 

Oni.     Na  Gods  fo,  fellow  Juniper,  come  away. 

lun.  Art  thou  there  mad  flaue,  I  come  with  a 
powder?.  Sirrah  fellow  Onion.  I  muft  haue  you  pe- 
rufe  this  Gentleman  well,  and  doe  him  good  offices  of 
refpect  and  kindneffe,  as  inftance  fhall  be  giuen.  45 

Anto.  Nay  good  maifter  Onion  what  do  you  meane, 
I  pray  you  fir  you  are  to  refpectue  in  good  faith. 

Onion.  I  would  not  you  fhould  thinke  fo  fir,  for 
though  I  haue  no  learning,  yet  I  honour  a  fcholer  in 
any  ground  of  the  earth  fir,  50 

Shall  I  requeft  your  name  fir  ? 

Anto.     My  name  is  Antonio  Balladino. 

Oiti,  Balladino  f  you  are  not  Fageant  Poet  to  the 
City  of  Millaine  fir,  are  you. 

23  Enter  Antonio  Balladino.  G  45   [Exit.  G 


Scene  i]  The  Cafe  is  Alterd  ii 

Anto.     I  fupply  the  place  fir:   when  a  worfe  cannot     55 
be  had  fir. 

Oni.  I  crie  you  mercy  fir,  I  loue  you  the  better  for 
that  fir,  by  lefu  you  muft  pardon  me,  I  knew  you  not, 
but  ird  pray  to  be  better  acquainted  with  you  fir,  I 
haue  feene  of  your  works.  60 

Anto.  I  am  at  your  feruice  good  Maifter  Onion,  but 
concerning  this  maiden  that  you  loue  fir?  what  is  fhe. 

Onion.     O  did  my  fellow  Juniper  tell  you?  marry  fir, 
fhe  is  as  one  may  fay,  but  a  poore  mans  child  indeede, 
and  for  mine  owne  part  I  am  no  Gentleman  borne  I     65 
muft  confeffe,  but  my  mind  to  me  a  kingdome  is  truly. 

Anto.     Truly  a  very  good  faying. 

Onion.     T'is  fomewhat  ftale,  but  that's  no  matter. 

Anto.  O  t'is  the  better,  fuch  things  euer  are  like 
bread,  which  the  ftaler  it  is,  the  more  holefome.  70 

Onion.  This  is  but  a  hungry  comparifon  in  my 
iudgement. 

Anto.     Why,  I'le  tell  you,  M.   Onion,  I  do  vfe  as 
much  ftale  ftuffe,  tliough  I  fay  it  my  felfe,  as  any  man 
does  in  that  kind  I  am  fure.      Did  you  fee  the  laft     75 
Fageant,  I  fet  forth? 

Onion.  No  faith  fir,  but  there  goes  a  huge  report 
on't. 

Anto.     Why,  you  fhal  be  one  of  my  Mcecen-affes, 
I'le  giue  you  one  of  the  bookes,  O  you'le  like  it  admir-     80 
ably. 

Oni.  Nay  that's  certaine,  I'le  get  my  fellow  luniper 
to  read  it. 

Anto.     Reade  it  fir,  I'le  reade  it  to  you. 

Onion.     Tut  then  I  fhall  not  chufe  but  like  it.  85 

Anto.  Why  looke  you  fir,  I  write  fo  plaine,  and 
keepe  that  old  Decorum,  that  you  muft  of  neceffitie 
like  it;  mary  you  fhall  haue  fome  now  (as  for  example, 
in  plaies)   that  will  haue  euery  day  new  trickes,  and 

66  is  truly.]  is.  G 


12  A  pleafant  Comedy,  called  [Act  i 

write  you  nothing  but  humours :  indeede  this  pleafes  the    90 
Gentlemen:    but  the  common  fort  they  care  not  for't, 
they  know  not  what  to  make  on't,  they  looke  for  good 
matter,  they,  and  are  not  edified  with  fuch  toyes. 

Onion.     You  are  in  the  right,  I'le  not  giue  a  halfe- 
peny  to  fee  a  thoufand  on  'hem.     I  was  at  one  the  laft    95 
Tearme,  but  &  euer  I  fee  a  more  roguifh  thing,  I  am 
a  peece  of  cheefe,  &  no  onion,  nothing  but  kings  & 
princes  in  it,  the  foole  came  not  out  a  iot. 

Ante.     True  fir,  they  would  haue  me  make  fuch 
plaies,  but  as  I  tell  hem,  and  they'le  giue  me  twenty  100 
pound  a  play,  I'le  not  raife  my  vaine. 

Onion.  No,  it  were  a  vaine  thing,  and  you  fhould 
fir. 

Anto.     Tut  giue  me  the  penny,  giue  me  the  peny,  I 
care  not  for  the  Gentlemen  I,  let  me  haue  a  good  105 
ground,  no  matter  for  the  pen,  the  plot  fhall  carry  it. 

Onion.  Indeed  that's  right,  you  are  in  print  already 
for  the  beft  plotter. 

Anto.  I,  I  might  as  well  ha  bene  put  in  for  a  dumb 
fhew  too.  no 

Oni.  I  marry  fir,  I  marie  you  were  not,  ftand  afide 
fir  a  while : 

'Enter  an  armd  Sewer:  fome  halfe  dozen  in  mourning 
coates  following  and  paffe  by  with  feruice. 

Enter  Valentine. 

Onion.  How  now  friend,  what  are  you  there?  be 
vncouered.  Would  you  fpeake  with  any  man  here? 

Valen.     I,  or  elfe  I  muft  ha'  returnd  you  no  anfwer.  115 

Oni.  Friend,  you  are  fomewhat  to  peremptory,  let's 
craue  your  abfence:  nay  neuer  fcorne  it,  I  am  a  little 
your  better  in  this  place.     Valen.     I  do  acknowledge  it. 

112    [Exit  Antonio.   G  Enter   .    .    .    feruice:]   An  armed 

Sewer,  followed  by  Juniper,  Sebastian,  Martino,  Balthasar, 
ViNCENTio,  and  other  Servants  in  mourning,  with  dishes,  &c.  passes 
over  the  stage.  G 


Scene  i]  The  Cafe  is  Alterd  13 

Onion.     Do  you  acknowledge  it?  nay  then  you  fhall 
go    forth,    He   teach    you   how    fhall    acknowledge    it  120 
another  time ;  go  to,  void,  I  muft  haue  the  hall  purg'd, 
no  fetting  vp  of  a  reft  here,  packe,  begone. 

Valen.     I  pray  you  fir  is  not  your  name  Onion f 

Oni.  Your  friend  as  you  may  vfe  him,  and  M. 
Onion,  fay  on.  125 

Valen.  M.  Onion  with  a  murraine,  come  come  put 
off  this  Lyons  hide,  your  eares  haue  difcouered  you, 
why  Peter!  do  not  I  know  you  Feterf 

Onion.     Gods  fo,  Valentine! 

Valen.     O  can  you  take  knowledge  of  me  now  fir?  130 

Oni.  Good  Lord,  firra,  how  thou  art  altred  with 
thy  trauell? 

Valen.  Nothing  fo  much  as  thou  art  with  thine 
office,  but  firra,  Onion  is  the  Count  Ferneze  at  home? 

¥.xit  Anthony. 

Oni.     I  Bully,  he  is  aboue;  and  the  Lord  Faulo  Fer-  135 
neze,  his  fon,  and  Maddam  Aurelia,  &  maddam  Fhoen- 
ixella,  his  daughters.  But  O  Valentine? 

Valen.     How  now  man,  how  doft  thou? 

Oni.  Faith  fad,  heauy,  as  a  man  of  my  coate  ought 
to  be,  140 

Valen.  Why  man,  thou  wert  merry  inough  euen 
now. 

Oni.     True,  but  thou  knoweft 
All  creatures  here  foiorning,  vpon  this  wretched  earth. 
Sometimes  haue  a  fit  of  mourning,  as  well  as  a  fit  of  145 

mirth. 
O  Valentine,  mine  old  Lady  is  dead,  man. 

Valen.     Dead ! 

Oni.     I  faith. 

Valen.     When  dyed  fhe?  150 

Onion.     Mary,  tomorrow  fhall  be  three  months,  fhe 

120  how  you  JV    how  [you]  G 


14  A  pleafant  Comedy,  called  [Act  i 

was  feene  going  to  heauen  they  fay,  about  fome  fiue 
weekes  agone !  how  now  ?  trickUng  teares,  ha  ? 

Valen.  Faith  thou  haft  made  me  weepe  with  this 
newes.  ^55 

Onion.  Why  I  haue  done  but  the  parte  of  an  Onion, 
you  muft  pardon  me. 

Scsene.  2. 

Enter  the  fewer,  paffe  by  with  feruice  againe,  the  feru- 

ingmen  take  knowledge  of  Valentine  as  they  goe. 

luniper  falutes  him. 

luni.     What  Valentine f  fellow  Onion,  take  my  difh 

1  prithee  you  rogue  firrah,  tell  me,  how  thou  doft, 
fweet  Ingle. 

Valen.  Faith,  luniper,  the  better  to  fee  thee  thus 
frolicke.  'Exit  Oni.       5 

luni.  Nay,  flid  I  am  no  changling,  I  am  luniper 
ftill.  I  keepe  the  priftmate  ha,  you  mad  Hierogliphick, 
when  fhal  we  fwagger. 

Valen.     Hierogliphick,  what  meaneft  thou  by  that. 

luni.     Meane?  Gods  fo,  ift  not  a  good  word  man?     10 
what?  ftand  vpon  meaning  with  your  freinds.     Puh, 
Abfconde. 

Valen.  Why,  but  ftay,  ftay,  how  long  has  this 
fprightly  humor  haunted  thee? 

luni.     Foe  humour,  a  foolifh  naturall  gift  we  haue     15 
in  the  ^quinoctiall. 

Valen.     Naturall,  flid  it  may  be  fupernaturall,  this? 

luni.  Valentine,  I  prithee  ruminate  thy  felfe  wel- 
come.   What  fortuna  de  la  Guerra. 

Scaene  .   .   .  him.l  Re-enter  the  Sewer,  followed  by  the  Servants 
with  dishes,  as  before:    they  all  pass  over  the  stage  but  Juniper,  G 

2  prithee  [Exit  Onion  with  the  dish.]   G  7  priftinate;   W,  G 
17  all  this.  W 


Scene  3]  The  Cafe  is  Alterd  15 

Valen.     O   how   pittifully   are   thefe   words   forc't.     20 
As  though  they  were  pumpt  out  on's  belly. 

luni.  Sirrah  Ingle,  I  thinke  thou  haft  feene  all  the 
ftrange  countries  in  Chriftendome  fince  thou  wentft? 

Valen.     I  haue  feene  fome  luniper. 

luni.     You  haue  feene  Conftantinoplef  25 

Valen.     I,  that  I  haue. 

luni.  And  lerufalem,  and  the  Indies,  and  Goodwine 
fands,  and  the  tower  of  Babylon,  and  Venice  and  all. 

Valen.     I  all ;  no  marie  and  he  haue  a  nimble  tong, 
if  he  practife  to  vault  thus  from  one  fide  of  the  world     30 
to  another. 

luni.  O  it's  a  moft  heauenly  thing  to  trauel,  &  fee 
countries,  efpecially  at  fea,  and  a  man  had  a  pattent  not 
to  be  ficke. 

Valen.     O  fea  ficke  left,  and  full  of  the  fcuruie.        35 


Scaene  3. 

Knter  luniper,  Antonio,  Sebaftian,  Martina,  Vincentio, 
Balthafar  and  Chriftophero. 

Seba.     Valentine f  welcome  I  faith  how  doft  firra? 
Mart.     How  do  you  good  Valentine. 
Vincen.     Troth,  Valentine,  I  am  glad  to  fee  you. 
Balth.     Welcome  fweet  rogue, 

Sebaft.     Before  God  he  neuer  lookt  better  in  his  life.       5 
Balth.     And  how  ift  man  ?  what.  Alia  Coragio. 
Valen.     Neuer  better  gentlemen  I  faith. 
luni.     S'will  here  comes  the  fteward. 
Chrift.     Why    how    now    fellowes    all    here?    and 
nobody  to  waight  aboue  now  they  are  ready  to  rife?     10 

31    [Aside.  G  Scaene   .    .    .    Chriftophero.]   Re-enter  Sebas- 

tian, Martino,  Vincentio,  and  Balthasar,  G  8  Enter  Chris- 

TOPHERO.  G 


i6  A  pleafant  Comedy,  called  [Act  i 

looke  vp  one  or  two  Signior  France fco  Colomia's  man 
how  doo's  your  good  maifter. 

Kxeunt  luniper,  Martino,  Vincentio. 

Valen.     In  health  fir  he  will  be  here  anon. 

Chrifto.     Is  he  come  home,  then? 

Yalen.     I  fir  he  is  not  paft  fixe  miles  hence,  he  fent     15 
me  before  to  learne  if  Count  Ferneze  were  here  and 
returne  him  word. 

Chrifto.     Yes,  my  Lord  is  here;    and  you  may  tel 
your  maifter  he  fhal  come  very  happily  to  take  his 
leaue  of  Lord  Paulo  Ferneze:  who  is  now  inftantly  to     20 
depart  with  other  noble  gentlemen,  vpon  fpeciall  feruice. 

Valen.     1  will  tell  him  fir. 

Chrifto.     I  pray  you  doe,  fellowes  make  him  drinke. 

Yalen.     Sirs,  what  feruice  ift  they  are  imployed  in? 

Sebaft.     Why  againft  the  French  they  meane  to  haue     25 
a  fling  at  Millaine  againe  they  fay. 

Valen.     Who  leades  our  forces,  can  you  tell? 

Sebaft.  Marry  that  do's  Signior  Maximilian?  he  is 
aboue,  now. 

Yalen.     Who,  Maximilian  of  Yicenzaf  30 

'Qalt.     I  he?  do  you  know  him? 

Yalen.  Know  him?  O  yes  he's  an  excellent  braue 
foldier. 

Ba/f.  I  fo  they  fay,  but  one  of  the  moft  vaine  glori- 
ous men  in  Europe.  35 

Yalen.     He  is  indeed,  marry  exceeding  valient. 

Sebaft.     And  that  is  rare. 

Bait.     What. 

Sebaft.     Why  to  fee  a  vaineglorious  man  valient. 

Yalen.     Well  he  is  fo  I  affure  you.     'Enter  luniper.     40 

luni.  What  no  further  yet,  come  on  you  precious 
rafcall,  fir  Yalentine,  He  giue  you  a  health  I  faith ;  for 
the  heauens  you  mad  Capriceio,  hold  hooke  and  line. 

12  doo's]  doft  B  12  your]  our  G 


Scene  4]  The  Cafe  is  Alterd  17 

Scsene  4. 
^nter  Lord  Paulo  Yerneze,  his  boy  following  him. 

Pau.     Boy. 
Boy.     My  Lord      • 

Pan.     Sirrah  go  vp  to  Signior  Angelio, 
And  pray  him  (if  he  can)  deuife  fome  meanes, 
To  leaue  my  father,  and  come  fpeake  with  me.  5 

Boy.     I  will  my  Lord. 

Paw.     Well  heauen,  be  aufpicious  in  the  euent; 
For  I  do  this  againft  my  Genius, 
And  yet  my  thoughts  cannot  propofe  a  reafon, 
Why  I  fhould  feare,  or  faint  thus  in  my  hopes,  10 

Of  one  fo  much  endeered  to  my  loue. 
Some  fparke  it  is,  kindled  within  the  foule: 
Whofe  light  yet  breaks  not  to  the  outward  fence, 
That  propagates  this  tymerous  fufpect; 
His  actions  neuer  carried  any  face  15 

Of  change,  or  weaknes :    then  I  iniury  him  ? 
In  being  thus  cold  conceited  of  his  faith, 
O  here  he  comes.  'Enter  Angelo. 

Aug.     How  now  fweet  Lord,  whats  the  matter  ? 
Fau.     Good    faith    his    prefence    makes    me    halfe 
afhamd. 
Of  my  ftraid  thoughts.     Boy.  Beftow  your  selfe.  20 

Exit  Boy. 
Where  is  my  father,  Signior  Angelio. 

Ang.     Marry  in  the  galery,  where  your  Lordfhip 

left  him. 
Fau.     Thats  well.     Then  Angelio  I  will  be  briefe. 
Since  time  forbids  the  vfe  of  circumftance, 

Scaene  .   .  .  him.]  Scene  II.    A  Room  in  count  Ferneze's  House. 
Enter  lord  Paulo  Ferneze,  followed  by  his  Page.  G  6  [Exit.  G 

13  outer  W  18  Re-enter  Page  with  Angelo.  G  20  [Exit 

Page.  G 


1 8  A  pleafant  Comedy,  called  [Act  i 

How  well  you  are  receiued  in  my  affection,  25 

Let  it  appeare  by  this  one  inftance,  onely 

That  now  I  will  deliuer  to  your  truft. 

The  deereft  fecrets,  treafurd  in  my  bofome, 

Deare  An^elio.     You  are  not  euery  man. 

But  one,  whome  my  election  hath  defign'd,  30 

As  the  true  proper  obiect  of  my  foule : 

I  vrge  not  this  t'infinuate  my  defert, 

Or  fupple  your  tri'd  temper,  with  fof t  phrafes ; 

True  friendfhip  lothes  fuch  oyly  complement: 

But  from  th'  aboundance  of  that  loue,  that  flowes  35 

Through  all  my  fpirits,  is  my  fpeech  enforc'd. 

Aw^.     Before  your  Lordfhip  do  proceed  too  far, 
Let  me  be  bould  to  intimate  thus  much ; 
That  what  fo  ere  your  wifedome  hath  t'expofe, 
Be  it  the  waightieft  and  moft  rich  affaire,  40 

That  euer  was  included  in  your  breaft. 
My  faith  fhall  poife  it,  if  not " 

Pom.     O  no  more, 
Thofe  words  haue  rapt  me  with  their  fweet  effects. 
So  freely  breath'd,  and  fo  refponfible. 
To  that  which  I  endeuoured  to  extract,  45 

Arguing  a  happy  mixture  of  our  foules. 

Ange.     Why  were  there  no  fuch  fympathy  fweete 
Lord? 
Yet  the  impreffure  of  thofe  ample  fauours, 
I  haue  deriu'd  from  your  vnmatched  fpirit, 
Would  bind  my  faith  to  all  obferuances.  50 

Pau.     How !  fauours  Angello,  6  fpeake  not  of  them, 
They  are  meere  paintings,  and  import  no  merit, 
Lookes  my  loue  well  ?  thereon  my  hopes  are  plac't : 
Faith,  that  is  bought  with  fauours,  cannot  laft.    Enters 

Boy.     My  Lord.  Boy.     55 

Pau.     How  now? 

43  wrapt  W  54  Re-enter  Page.  G 


Scene  4]  The  Cafe  is  Alterd  19 

Boy.     You    are    fought    for    all    about    the    houfe, 
within, 
The  Count  your  father  cals  for  you. 

Pau.     God,  what  croffe  euents  do  meet  my  purpofes  ? 
Now  will  he  violently  fret  and  grieue  60 

That  I  am  abfent.     Boy,  fay  I  come  prefently:       Kxit 
Sweet  Angello,  I  cannot  now  infift  Boy, 

Vpon  particulars,  I  muft  ferue  the  time 
The  maine  of  all  this  is,  I  am  in  loue. 

Ange.     Why  f tarts  your  Lordfhip?  65 

Pau.     I  thought  I  heard  my  father  comming  hither- 
ward,  lift,  ha? 

Ange.     I  heare  not  any  thing,  it  was  but  your  imagi- 
nation fure. 

Pau.     No.  70 

Ange.     No,  I  affure  your  Lordfhip. 

Pau.     I  would  worke  fafely. 

Ange.     Why,  has  he  no  knowledge  of  it  then  ? 

Pau.     O  no,  no  creature  yet  pertakes  it  but  your  felf e 
In  a  third  perfon,  and  beleeue  me  friend,  75 

The  world  containes  not  now  another  fpirit, 
To  whom  I  would  reueile  it.     Harke,  harke. 


o  X      (  Sigmor  Paulo.  )      ... 

Seruants.  i  t      j   j-  \  withm. 

(  Lord  Ferneze.    ) 


Ange.     A  pox  vpon  thofe  brazen  throated  flaues,  80 

What  are  they  mad,  trow? 

Paw.     Alas,  blame  not  them, 
Their  feruices  are  (clock-like)  to  be  fet. 
Backward  and  forward,  at  their  Lords  command. 
You  know  my  father's  wayward,  and  his  humour 
Muft  not  receiue  a  check,  for  then  all  obiects,  85 

Feede  both  his  griefe  and  his  impatience. 
And  thofe  affections  in  him,  are  like  powder, 
Apt  to  enflame  with  euery  little  fparke. 
And  blow  vp  reafon,  therefore  Angelo,  peace. 

70  No.]  No?  Ml 


20  A  pleafant  Comedy,  called  [Act  i 


within. 


'Count.     Why  this  is  rare,  is  he  not  in  the 

garden  ?  90 

Crift.     I  know  not  my  Lord. 
■  Count.     See,  call  him? 
Paw.     He  is  comming  this  way,  let's  withdraw  a 
little.  Exeunt. 

.  J  Seruants.     Signior  Paulo,  Lord  Verneze, 

\         Lord  Faulo.  95 


Scaene  5. 

Enter  Count  Ferneze,  Maximilian,  Aurelia,  Fhoe- 

nixella,  Sebaft.  Balthafar. 

Count. 

'\7'\  THere  fhould  he  be,  trow?  did  you  looke  in 
V      V     the  armory? 

Sebaft.     No  my  Lord. 
Count.     No,  why  there?  6  who  would  keepe  fuch 
drones?  'Exeunt  Sebaft.  and  Baltha. 

Enter  Martina. 
How  now,  ha  ye  found  him? 
Mart.     No  my  Lord.  5 

Count.     No  my  Lord,  I  fhall  haue  fhortly  all  my 
family 

Speake  nought,  but  no  my  Lord,  where  is  Chriftophero, 

Enter  Chrriftophero. 
Looke  how  he  ftands,  you  fleepy  knaue.  Exit  Martina. 
What  is  he  not  in  the  Garden?  10 

Chrifto.     No  my  good  Lord. 

Count.     Your  good  Lord,  6  how  this  fmels  of  f  ennell. 

Enter  Sebaft.  Baltha. 
You  haue  bene  in  the  garden  it  appeares,  well,  well. 

Scaene  .  .  .  Count.]  Enter  count  Ferneze,  Maximilian,  Aureua, 
Phcenixella,  Sebastian,  and  Balthasar.  G 


Scene  5]  The  Cafe  is  Alterd  21 

Balth.     We  cannot  find  him  my  Lord. 

Sebaft.     He  is  not  in  the  armory.  15 

Count.     He  is  not,  he  is  no  where,  is  he? 

Maxi.     Count  Ferneze. 

Count.     Signior. 

Maxi.     Preferue  your  patience  honorable  Count. 

Count.     Patience?  a  Saint  would  loofe  his  patience 
to  be  croft,  20 

As  I  am  with  a  fort  of  motly  braines, 
See  fee,  how  like  a  neft  of  Rookes  they  ftand, 

Fnter  Onion. 
Gaping  on  one  another!  now  Diligence,  what  news 
bring  you? 

Om.     Ant  pleafe  your  honour.  25 

Count.     Tut,  tut,  leaue  pleafing  of  my  honour  Dili- 
gence, you  double  with  we,  come. 

Oni.     How :     does   he   find   fault   with    Fleafe   his 
Honour.     S'wounds  it  has  begun  a  feruingmans  fpeech, 
euer  fince  I  belongd  to  the  blew  order:    I  know  not     30 
how  it  may  fhew,  now  I  am  in  blacke,  but 

Count.    Whats  that,  you  mutter  fir  ?  will  you  proceed  ? 

Oni.     Ant  like  your  good  Lordfhip. 

Count.     Yet  more,  Gods  precious. 

Om.     What,  do  not  this  like  him  neither?  35 

Count.     What  fay  you  fir  knaue? 

Oni.     Mary  I  fay  your  Lordfhip  were  beft  to  fet  me 
to  fchoole  againe,  to  learne  how  to  deliuer  a  meffage. 

Count.     What  do  you  take  exceptions  at  me  then. 

Oni.     Exception?  I  take  no  exceptions,  but  by  Gods     40 
fo  your  humours  

Count.     Go  to  you  are  a  Raskall,  hold  your  tongue. 

Om.     Your  Lordfhips  poore  feruant,  I. 

Count.     Tempt  not  my  patience. 

23  Gaping  at  W  27  we,]  me,  W,  G  31  [Aside.  G 

35    [Aside.    G  40   Exception?]    Exceptions!    G 


aa  A  pleafant  Comedy,  called  [Act  i 

Oni.     Why  I  hope  I  am  no  fpirit,  am  I  ?  45 

Maxi.     My  Lord,  command  your  Steward  to  correct 
the  flaue. 

On*.     Correct  him,  S'bloud  come  you  and  correct 
him  and  you  haue  a  minde  to  it,  correct  him,  that's  a 
good  ieft  I  faith,  the  Steward  and  you  both,  come  and     50 
correct  him. 

Count.     Nay  fee,  away  with  him,  pull  his  cloth  ouer 
his  eares. 

Oni.     Cloth  ?  tell  me  of  your  cloth,  here's  your  cloth, 
nay  and  I  moume  a  minute  longer,  I  am  the  rotteneft    55 
Onion  that  euer  fpake  with  a  tongue. 

They  thruft  him  out. 

Maxi.     What  call  your  hind's  count  Fernesef 

Count.     His  name  is  Onion  Signior, 

Maxi.     I  thought  him  fome  fuch  fawcy  companion. 

Count.     Signior  Maximillian.  60 

Maxi.     Sweet  Lord. 

Count.     Let  me  intreat  you,  you  would  not  regard 
Any  contempt  flowing  from  fuch  a  fpirit. 
So  rude,  fo  barbarous. 

Maxi.     Moft  noble  Count  vnder  your  f auour —  65 

Coun.     Why  He  tell  you  Signior, 
Heele  bandy  with  me  word  for  word,  nay  more, 
Put  me  to  filence,  ftrike  me  perfect  dumb ; 
And  fo  amaze  me,  that  oftentimes  I  know  not, 
Whether  to  check  or  cherifh  his  prefumption :  70 

Therefore  good  Signior. 

Maxi.  Sweet  Lord  fatisfie  your  felfe,  I  am  not  now 
to  learn  how  to  manage  my  affections,  I  haue  obferu'd, 
and  know  the  difference  betweene  a  bafe  wretch  and  a 
true  man,  I  can  diftinguifh  them,  the  property  of  the  75 
wretch  is,  he  would  hurt  and  cannot,  of  the  man,  he 
can  hurt,  and  will  not. 

57   call  [you]   G    57  hind's   [name,]   G     57  call   .    .    .   hind's]  call 
you  your  hind,  W  77  not.  [Aurelia  smiles.  G 


Scene  5]  The  Cafe  is  Alter d  23 

Coun.     Go  to,  my  merry  daughter,  6  thefe  lookes. 
Agree  well  with  your  habit,  do  they  not? 

Knter  luniper. 

lunip.  Tut,  let  me  alone.  By  your  fauour,  this  is  80 
the  Gentleman  I  thinke.  Sir  you  appeare  to  be  an  honor- 
able Gentleman,  I  vnderftand,  and  could  wifh  ( for  mine 
owne  part)  that  things  were  conden't  otherwife  then 
they  are:  but  (the  world  knowes)  a  foolifh  fellow, 
fomewhat  procliue,  and  hafty,  he  did  it  in  a  preiudicate  85 
humour;  mary  now  vpon  better  computation,  he 
wanes ;  he  melts ;  his  poore  eyes  are  in  a  cold  fweat. 
Right  noble  Signior,  you  can  haue  but  compunction,  I 
loue  the  man,  tender  your  compaffion. 

M.axi.     Doth  any  man  here  vnderftand  this  fellow?     90 

lunip.     O  God  fir,  I  may  fay  fruftra  to  the  compre- 
henfion  of  your  intellection. 

Maxi.     Before  the  Lord,  he  fpeakes  all  riddle,   I 
thinke. 
I  muft  haue  a  comment  ere  I  can  conceiue  him.  95 

Count.    Why   he   fues   to   haue   his    fellow    Onion 
pardon'd. 
And  you  muft  grant  it  Signior. 

Maxi.     O  with  all  my  foule  my  Lord,  is  that  his 
motion  ? 

lunip.  I  fir,  and  we  fhall  retort  thefe  kinde  fauours  100 
with  all  allacrity  of  fpirit,  we  can  fir,  as  may  be  moft 
expedient,  as  well  for  the  quality  as  the  caufe,  till  when 
in  fpight  of  this  complement:  I  reft  a  poore  Cobler, 
feruant  to  my  honorable  Lord  here,  your  friend  and 
luniper.  Kxit.  105 

Maxi.     How  lunip  erf 

Count.     I  Signior. 

Maxi.     He  is  a  fweete  youth,  his  tongue  has  a  happy 
turne  when  he  fleepes. 

79  Enter  Juniper  in  his  cohler's  dress.  G 


84  A  pleafant  Comedy,  called  [Act  i 

Enter  Paulo  ¥erneze,  Francifco,  Colomea, 
Angelo,  Valentine. 

Count.     I  for  then  it  refts,  O  Sir  your  welcome,  no 

Why  God  be  thanked  you  are  found  at  laft: 
Signior  Coloma  truly  you  are  welcome, 
I  am  glad  to  fee  you  fir  fo  well  returned. 

Yran.     I  gladly  thanke  your  honour,  yet  indeed 
I  am  fory  for  fuch  caufe  of  heauineffe,  115 

As  hath  poffeft  your  Lordfhip  in  my  abfence. 

Count.     O  Francifco'  you  knew  her  what  fhe  was ! 

Fran.     She  was  a  wife  and  honorable  Lady. 

Count.  I  was  fhe  not!  well  weepe  not  fhe  is  gone, 
Paffons  duld  eye  can  make  two  grieues  of  one,  120 

Whom  death  marke  out,  vertue,  nor  bluod  can  faue. 
Princes,  as  beggers,  all  muft  feed  the  graue. 

Max.     Are  your  horfe  ready  Lord  Faulo, 

Fau.     I  fignior  the  ftay  for  vs  at  the  gate. 

Max.     Well  tis  good.     Ladies  I  will  take  my  leaue  125 
of  you.  Be  your  fortunes  as  your  felues  ?  f aire.     Come 
let  vs  to  horfe,  Count  Fernese  I  beare  a  fpirit  full  of 
thanks  for  all  your  honorable  courtefies. 

Count:    Sir  I  could  wifh  the  number  and  value  of 
them  more  in  refpect  of  your  deferuings.     But  Signior  130 
Maximtllian.     I  pay  you  a  word  in  priuate. 

Aur.  I  Faith  brother  you  are  fitted  for  a  general! 
yonder,  Befhrow  my  heart  (If  I  had  Fortnnatus  hat 
here)  and  I  would  not  wifh  my  felfe  a  man  and  go 
with  you,  only  t'  enioy  his  prefence.  135 

Paw.     Why  do  you  loue  him  fo  well  fifter. 

Aur.     No  by  my  troth,  but  I  haue  fuch  an  odde 
prety  apprehenfion  of  his  humour  me  thinks :  that  I  am 
eene  tickled  with  the  conceite  of  it. 
O  he  is  a  fine  man.  140 

Ang.     And  me  thinks  another  may  be  as  fine  as  he. 

Enter  .    .    .   Colomea,   .    .    .]   Enter   .    .    .   Colonnia,   .    .    .   G 
123  horses  G  131  pay]  pray  W,  G  131  [They  walk  aside.  G 


Scene  5]  The  Cafe  is  Alter d  25 

Aur.  O  Angelio,  do  you  thinke  I  do  vrge  any  com- 
parifon  againft  you?  no,  I  am  not  fo  illbred,  as  to  be  a 
deprauer  of  your  worthines:  beleeue  me,  if  I  had  not 
fome  hope  of  your  abiding  with  vs,  I  fhould  neuer  145 
defire  to  go  out  of  black  whilft  I  Hued:  but  leame  to 
fpeake  i'  the  nofe,  and  turne  puritan  prefently. 

Ang.     I  thanke  you  Lady :    I  know  you  can  flout. 

Aur.     Come  doe  you  take  it  fo?  I  faith  you  wrong 
me.  150 

Fran.     I,  but  Maddame, 
Thus  to  difclaime  in  all  the  eifects  of  pleafure. 
May  make  your  fadneffe  feeme  to  much  aifected, 
And  then  the  proper  grace  of  it  is  loft. 

Fhoenix     Indeed  fir,  if  I  did  put  on  this  fadneffe         155 
Onely  abroad,  and  in  Society, 
And  were  in  priuate  merry ;  and  quick  humor'd ; 
Then  might  it  feeme  affected  and  abhord : 
But  as  my  lookes  appeare,  fuch  is  my  fpirit, 
Drown'd  vp  with  confluence  of  griefe,  and  melancholy,  160 
That  like  to  riuers  run  through  all  my  vaines. 
Quenching  the  pride  and  feruour  of  my  bloud. 

Max.     My  honorable  Lord  ?  no  more : 
There  is  the  honour  of  my  bloud  ingag'd, 
For  your  fonnes  faf ety. 

Count.     Signior,  blame  me  not,  165 

For  tending  his  fecurity  fo  much, 
He  is  mine  onely  fonne,  and  that  word  onely. 
Hath  with  his  ftrong,  and  reprecuffiue  found. 
Stroke  my  heart  cold,  and  giuen  it  a  deepe  wound. 

Max.     Why  but  ftay,  I  befeech  you,  had  your  Lord-  170 
fhip  euer  any  more  fonnes  then  this. 

Count.     Why  haue  not  you  knowen  it  Maximilianf 

Max.     Let  my  Sword  faile  me  then. 

Count.     I  had  one  other  yonger  borne  then  this, 

142  do  vrge  any]  urge  any  G  do  urge  my  W  153  to] 

so  W  168  his]  its  W 


a6  A  pleafant  Comedy,  called  [Act  i 

By  twife  fo  many  howers  as  would  fill  175 

The  circle  of  a  yeare,  his  name  Camillo, 

Whome  in  that  blacke,  and  fearfuU  night  I  loft, 

(Tis  now  a  nineteene  yeares  agone  at  leaft, 

And  yet  the  memory  of  it  fits  as  frefh 

Within  my  braine  as  twere  but  yefterday)  180 

It  was  that  night  wherein  the  great  Chamont, 

The  generall  for  France  furprifed  Vicenza, 

Methinks  the  horrour  of  that  clamorous  fhout 

His  fouldiers  gaue'  when  they  attaind  the  wall, 

Yet  tingles  in  mine  eare,  me  thinkes  I  fee  185 

With  what  amazed  lookes,  detracted  thoughts, 

And  minds  confuf'd,  we,  that  were  citizens, 

Confronted  one  another:    euery  ftreet 

Was  fild  with  bitter  felfe  tormenting  cries, 

And  happy  was  that  foote,  that  firft  could  preffe,  190 

The  flowry  champaigne,  bordering  on  Verona. 

Heere  I  (imploy'd  about  my  deare  wiues  fafety) 

Whofe  foule  is  now  in  peace)  loft  my  Camillo. 

Who  fure  was  murdered  by  the  barbarous  Souldiers, 

Or  elfe  I  fhould  haue  heard — my  heart  is  great.  195 

Sorrow  is  faint f  and  paffion  makes  me  fweat. 

yiax  Grieue  not  fweet  Count:  comfort  your  fpirits, 
you  haue  a  fonne  a  noble  gentleman,  he  ftands  in  the 
face  of  honour:  For  his  fafety  let  that  be  no  queftion. 
I  am  maifter  of  my  fortune,  and  he  fhall  fhare  with  200 
me.  Farewell  my  honorable  Lord.  Ladies  once  more 
adiew,  for  your  felfe  maddam  you  are  a  moft  rare 
creature,  I  tell  you  fo,  be  not  proud  of  it,  I  loue  you: 
come  Lord  Paulo  to  horfe. 

Paw.    Adiew  good  Signior  France fco :  farewell  f if ter.  205 
Sound  a  tucket,  and  as  they  paffe  euery  one  feue- 
rally  depart,  Maximilian,  Paulo  Ferne- 
ze  and  Angela  remaine 

181  thatl  the  W  185  ears  W,  G  205  sisters.  G 

Sound  .  .  .  remaine]  A  tucket  sounds.    Exeunt  severally. 


Scene  5]  The  Cafe  is  Alter d  aj 

Ang.     How  fhall  we  rid  him  hence. 

Paw.     Why  well  inough?  fweet  Signior  Maximilian, 
I  haue  fome  fmall  occafion  to  ftay: 
If  it  may  pleafe  you  but  take  horfe  afore 
He  ouer  take  you,  ere  your  troopes  be  rang'd.  210 

Max.     Your  motion  hath  taft  wel:   Lord  Ferneze  I 
go.  Fxit  Max. 

Fail.     Now  if  my  loue  faire  Rachel,  were  fo  happy, 
But  to  looke  forth.     See  fortune  doth  me  grace. 

Fnter  Rachel. 
Before  I  can  demaund?  how  now  loue.  215 

Where  is  your  father? 

Rack.     Gone  abroad  my  Lord: 

Fau.     Thats  well. 

Rach.     I  but  I  feare  heele  prefently  returne, 
Are  you  now  going  my  moft  honored  Lord? 

Pau.     I  my  fweet  Rachel.  220 

Aw^.     Before  God,  fhe  is  a  fweet  wench. 

Pau.     Rachel  I  hope  I  fhall  not  need  to  vrge, 
The  facred  purity  of  our  effects, 
As  if  it  hung  in  triall  or  fufpence : 

Since  in  our  hearts,  and  by  our  mutuall  vowes,  225 

It  is  confirmd  and  feald  in  fight  of  heauen. 
Nay  doe  not  weepe,  why  ftarte  you?  feare  not,  Loue. 
Your  father  cannot  be  return'd  fo  foone, 
I  prithee  doe  not  looke  fo  heauily. 
Thou  fhalt  want  nothing. 

Rach.     No  is  your  prefence  nothing?  230 

I  fhall  want  that,  and  wanting  that,  want  all : 
For  that  is  all  to  me. 

Pau.     Content  thee  fweet, 

Scene   III.     The  Street  before  Jaques  de  Prie's  House.     Enter 
Paulo  Ferneze,  and  Ajjgelo,  followed  by  Maximilian.  G 
210  ranged.  Mi  211   hath]    doth   W,  G  214  But]    As   W 

221    [Aside.  G  227  ftarte]   ftare  W  228  returned  Mi 

229  heauily  Mi  230  nothing     .  .   .  nothing,  Mi  231  all  Mi 

232  fweet  Mi 


28  A  pleafant  Comedy,  called  [Act  2 

I  haue  Made  choife  here  o£  a  conftant  friend 

This  gentleman?  one,  whofe  zealous  loue 

I  doe  repofe  more,  then  on  all  the  world,  235 

Thy  beauteous  felfe  excepted:   and  to  him, 

Haue  I  committed  my  deere  care  of  thee, 

As  to  my  genius,  or  my  other  foule, 

Receiue  him  gentle  loue,  and  what  deffects 

My  abfence  proues,  his  prefence  fhall  fupply.  240 

The  time  is  enuious  of  our  longer  ftay. 

Farewell  deere  Kachel. 

Rack:     Moft  deere  Lord,  adew, 
Heauen  and  honour  crowne  your  deeds,  and  you, 

"Exit  Rachel. 

Pau.     Faith  tell  me  Angelio  how  doft  thou  like  her? 

Ang.     Troth  well  my  Lord,  but  fhall  I  fpeake  my 
mind,  245 

Pau.     I  prithee  doe, 

Ang.     She  is  deriud  too  meanely  to  be  wife 
To  fuch  a  noble  perfon,  in  my  iudgement, 

Pau.     Nay  then  thy  iudgement  is  to  meane,  I  fee : 
Didft  thou  neare  read  in  difference  of  good,  250 

Tis  more  to  fhine  in  vertue  then  in  bloud, 

'Enter  laques. 

Ang.     Come  you  are  fo  fententious  my  Lord. 

Pau.     Here  comes  her  father.     How  doft  thou  good 
laques? 

Ang.     God  faue  thee  laques. 

laq.     What  fhould  this  meane?  Rachel  open  the  dore.  255 

Exit  laques. 

Ang.     Sbloud  how  the  poore  flaue  lookes,  as  though 
He  had  bene  haunted  by  the  fpirit  Lar, 

234  one,  whofe]   on  whofe  W    one,  [on]   whose  G  238  foule. 

Mi  239  Rsceiue  hi  .  .   .  loue  .   .   .  deflfects,  Mi  243  you.] 

you,  Mi  249  meene,  Mi  249  fee]   fear  W  250  good 

Mi  256  looks  [aghast,]  G 


Scene  i]  The  Cafe  is  Alterd  29 

Or  feene  the  ghoft  of  fome  great  Satrapas 
In  an  vnfauory  fheet. 

PaM.     I  mufe  he  fpake  not,  beUke  he  was  amazd  260 

Comming  fo  fuddenly  and  vnprepard?  Well  lets  go. 

Exeunt. 

Actus  fecundi  Scgena  prima. 
'Enter  laques  folus. 

SO  now  inough  my  heart,  beat  now  no  more. ; 
At  leaft  for  this  afright,  what  a  could  fweat 
Flow'd  on  my  browes,  and  ouer  all  my  bofome ! 
Had  I  not  reafon  ?  to  behold  my  dore 

Befet  with  vnthrifts,  and  my  felfe  abroad?  5 

Why  laques  f  was  their  nothing  in  the  houfe 
Worth  a  continuall  eye,  a  vigelent  thought, 
Whofe  head  fhould  neuer  nod,  nor  eyes  once  wincke? 
Looke  on  my  coate,  my  thoughts ;  worne  quite  thredbare, 
That  time  could  neuer  couer  with  a  nappe,  10 

And  by  it  learne,  neuer  with  nappes  of  fleepe, 
To  (mother  your  conceipts  of  that  you  keepe. 
But  yet,  I  maruell,  why  thefe  gallant  youths 
Spoke  me  f o  f aire,  and  I  ef teemd  a  beggar  ? 
The  end  of  flattery,  is  gaine,  or  lechery :  15 

If  they  feeke  gaine  of  me,  they  thinke  me  rich, 
But  that  they  do  not:    for  their  other  obiect: 
Tis  in  my  handfome  daughter,  if  it  be. 
And  by  your  leaue,  her  handfomneffe  may  tell  them 
My  beggery  counterfeits,  and,  that  her  neatneffe,  20 

Flowes  from  fome  ftore  of  wealth,  that  breakes  my 

coffers, 
With  this  fame  engine,  loue  to  mine  owne  breed. 

258  Satrapas.  Mi  260  not,]   no,  Mi  261  go:    Mi 

Actus    .    .    .   folus.]     Act  II.     Scene  I.     The  Court-yard,  at  the 
back  of  Jaques'  House.    Enter  Jaqxjes.  G  ii  knaps  IV 


3©  A  pleafant  Comedy,  called  [Act  2 

But  this  is  anfwered :   Beggers  will  keepe  fine, 

Their  daughters,  being  faire,  though  themfelues  pine. 

Well  then,  it  is  for  her,  I,  t'is  fure  for  her,  25 

And  I  make  her  fo  briske  for  fome  of  them, 

That  I  might  Hue  alone  once  with  my  gold. 

O  t'is  a  fweet  companion !  kind  and  true, 

A  man  may  truft  it  when  his  father  cheats  him ; 

Brother,  or  friend,  or  wife,  6  wondrous  pelfe,  30 

„That  which  makes  all  men  falfe,  is  true  it  felfe. 

But  now  this  maid,  is  but  fuppos'd  my  daughter : 

For  I  being  Steward  to  a  Lord  of  France, 

Of  great  eftate,  and  wealth,  called  Lord  Chammount, 

He  gone  into  the  warres,  I  ftole  his  treafure;  35 

(But  heare  not,  any  thing)  I  ftole  his  treafure, 

And  this  his  daughter,  being  but  two  yeares  old, 

Becaufe  it  lou'd  me  fo,  that  it  would  leaue 

The  nurfe  her  felfe,  to  come  into  mine  armes, 

And  had  I  left  it,  it  would  fure  haue  dyed.  40 

Now  herein  I  was  kinde,  and  had  a  confcience ; 

And  fince  her  Lady  mother  that  did  dye 

In  child-bed  of  her,  loued  me  paffing  well. 

It  may  be  nature  fafhiond  this  affection, 

Both  in  the  child  and  her :  but  hees  ill  bred,  45 

That  ranfackes  tombes,  and  doth  deface  the  dead, 

rie  therefore  fay  no  more :   fuppofe  the  reft, 

Here  haue  I  chang'd  my  forme,  my  name  and  hers. 

And  Hue  obfurely,  to  enioy  more  fafe      "Enter  Rachel. 

My  deereft  treafure.     But  I  muft  abroad,  Rachel.  50 

Rach.     What  is  your  pleafure  fir? 

laq.     Rachel  I  must  abroad. 
Lock  thy  felfe  in,  but  yet  take  out  the  key, 
That  whofoeuer  peepes  in  at  the  key-hole. 
May  yet  imagine  there  is  none  at  home.  55 

Rach.     1  will  fir. 

laq.     But  harke  thee  Rachel:  fay  a  theefe  fhould 
come. 


Scene  2]  The  Cafe  is  Alterd  31 

And  miffe  the  key,  he  would  refoule  indeede 
None  were  at  home,  and  fo  breake  in  the  rather : 
Ope  the  doore  Rachel,  fet  it  open  daughter ;  60 

But  fit  in  it  thy  felf e :   and  talke  alowd. 
As  if  there  were  fome  more  in  houfe  with  thee: 
Put  out  the  fire,  kill  the  chimnies  hart, 
That  it  may  breath  no  more  then  a  dead  man, 
The  more  we  fpare  my  child,  the  more  we  gaine,  65 

'Exeunt. 

Scsene  2. 
Enter  Chriftophero,  luniper  and  Onion. 

CHrift.     What  fayes  my  fellow  Onion?  come  on. 
Oni.     All  of  a  houfe  fir,  but  no  f ellowes,  you  are 
my  Lords  Steward,  but  I  pray  you  what  thinke 
you  of  loue,  fir? 

Chrift.     Of  loue  Onion t    Why  it's  a  very  honour-       5 
able  humor. 

Oni.     Nay  if  it  be  but  worfhipfuU  I  care  not. 

lunip.     Go  to,  it's  honorable,  checke  not  at  the  con- 
ceit of  the  Gentleman. 

Oni.     But  in  truth  fir,  you  fhall  do  well  to  think  well     10 
of  loue: 
For  it  thinkes  well  of  you,  in  me,  I  affure  you. 

Chrif.     Gramercy  fellow  Onion:    I  do  thinke  well, 
thou  art  in  loue,  art  thou  ? 

Oni.     Partly  fir,  but  I  am  afham'd  to  fay  wholy.  15 

Chrif.     Well,  I  will  further  it  in  thee  to  any  honeft 
woman,  or  maiden,  the  beft  I  can. 

lunip.     Why  now  you  come  neere  him  fir,  he  doth 
vaile, 

62  th'  house  G  Scaene  .    .    .   Onion.]   Scene  II.    A  Room 

in   count   Fesneze's   House.     Enter   Christopheko,   Juniper,    and 
Onion.  G 


38  A  pleafant  Comedy,  called  [Act  2 

He  doth  remunerate,  he  doth  chaw  the  cud  in  the    20 

kindneffe 

Of  an  honeft  imperfection  to  your  worfhip. 

Chrif.     But  who  is  it  thou  loueft  fellow  Onion? 

Oni.  Mary  a  poore  mans  daughter,  but  none  of  the 
honefteft,  I  hope.  25 

Chrif.     Why,  wouldft  thou  not  haue  her  honeft? 

Oni.  O  no,  for  then  I  am  fure  fhe  would  not  haue  me. 
T'is  Rachel  de  Prie. 

Chrif.  Why,  fhe  hath  the  name  of  a  very  vertuous 
mayden.  30 

lunip.  So  fhee  is  fir,  but  the  fellow  talkes  in  quid- 
dits,  he. 

Chrif.     What  wouldft  thou  haue  me  do  in  the  matter  ? 

Oni.     Do  nothing  fir,  I  pray  you,  but  fpeake  for  me. 

Chrif.     In  what  maner?  35 

Oni.     My  fellow  luniper  can  tell  you  fir. 

lunip.  Why  as  thus  fir.  Your  worfhip  may  com- 
mend him  for  a  fellow  fit  for  confanguinity,  and  that 
he  fhaketh  with  defire  of  procreation,  or  fo. 

Chrif.     That  were  not  fo  good,  me  thinkes.  40 

lunip.  No  fir,  why  fo  fir  ?  what  if  you  fhould  fay  to 
her,  correborate  thy  felfe  fweete  foule,  let  me  diftin- 
guifh  thy  pappes  with  my  fingers,  diuine  Mumps,  prety 
Paftorella?  lookeft  thou  fo  fweet  and  bounteous? 
comfort  my  friend  here.  45 

Chrif.  Well  I  perceiue  you  wifh,  I  fhould  fay  fome- 
thing  may  do  him  grace,  and  further  his  defires,  and 
that  be  fure  I  will. 

Oni.  I  thanke  you  fir,  God  faue  your  life,  I  pray 
God  fir.  50 

lunip.  Your  worfhip  is  too  good  to  Hue  long :  youle 
contaminate  me  no  feruice. 

Chrif.     Command  thou  wouldeft  fay,  no  good  luniper. 

20  chew  G  31  quiddities,  W  49  pray  God]  pray,  G 


Scene  3]  The  Cafe  is  Alter d  33 

lunip.     Health  and  wealth  fir. 

Kxeunt  Onion  and  luniper. 

Chrif.     This  wench  wil  I  folicite  for  my  felfe,  55 

Making  my  Lord  and  maifter  priuy  to  it; 
And  if  he  fecond  me  with  his  confent, 
I  will  proceede,  as  hauing  long  ere  this, 
Thought  her  a  worthy  choyce  to  make  my  wife.     Exit. 


Scsene  3. 

'Enter  Aurelia,  Phcenixella. 

AVre.  Roome  for  a  cafe  of  matrons  coloured  blacke, 
How  motherly  my  mothers  death  hath  made  vs  ? 
I  would  I  had  fome  girles  now  to  bring  vp ; 
O  I  could  make  a  wench  fo  vertuous, 

She  fhould  fay  grace  to  euery  bit  of  meate,  5 

And  gape  no  wider  then  a  wafers  thickneffe : 
And  fhe  fhould  make  French  curfies,  fo  moft  low. 
That  euery  touch  fhould  turne  her  ouer  backward. 

Phceni.     Sifter,  thefe  words  become  not  your  attire. 
Nor  your  eftate:   our  vertuous  mothers  death  10 

Should  print  more  deepe  effects  of  forrow  in  vs, 
Then  may  be  worne  out  in  fo  little  time. 

Aure.     Sifter,  faith  you  take  too  much  Tobacco, 
It  makes  you  blacke  within,  as  y'  are  without. 
What  true-ftich  fifter?  both  your  fides  alike?  15 

Be  of  a  fleighter  worker    for  of  my  word, 
You  fhall  be  fold  as  deere  or  rather  deerer? 
Will  you  be  bound  to  cuftomes  and  to  rites f 
Shed  profitable  teares,  weepe  for  aduantage; 
Or  elfe,  do  all  things,  as  you  are  enclynd.  20 

Hate  when  your  ftomacke  ferues  (faith  the  Phyfitian) 

59  Thought]   Though  Mi  Scaene   .    .    .   Phcenixella.]   Scene 

III.    Another  Room  in  the  Same.    Enter,  etc.   G  13  i'  faith 

W.  G  21  Hate]  Eat  W,  G 


34  A  pleafant  Comedy,  called  [Act  2 

Not  at  eleuen  and  fixe.     So  if  your  humour 

Be  now  affected  with  this  heauineffe. 

Giue  me  the  reines  and  fpare  not,  as  I  do, 

In  this  my  pleafurable  appetite,  25 

It  is  PrcBcifianifme  to  alter  that 

With  auftere  iudgement,  that  is  giuen  by  nature. 

I  wept  you  faw  too,  when  my  mother  dyed: 

For  then  I  found  it  eafier  to  do  fo, 

And  fitter  with  my  moode,  then  not  to  weepe.  30 

But  now  tis  otherwife,  another  time 

Perhaps  I  fhall  haue  fuch  deepe  thoughts  of  her, 

That  I  fhall  weepe  afrefh,  fome  tweluemonth  hence, 

And  I  will  weepe,  if  I  be  fo  difpos'd. 

And  put  on  blacke,  as  grimly  then,  as  now ;  35 

Let  the  minde  go  ftill  with  the  bodies  ftature, 

Iudgement  is  fit  for  Judges,  giue  me  nature. 

Scaene.  4. 
Enter  Aurelia,  Phoenixella,  Francifco,  Angela. 

FRan.     See  Signior  Angela  here  are  the  Ladies, 
Go  you  and  comfort  one,  He  to  the  other. 
Ange.     Therefore  I  come  fir,  I'le  to  the  eldeft. 
God  faue  you  Ladies,  thefe  fad  moodes  of  yours. 
That  make  you  choofe  thefe  folitary  walkes,  S 

Are  hurtfull  for  your  beauties. 
Aure.     If  we  had  them. 

Ange.     Come,    that   condition   might   be    for   your 
hearts, 
When  you  proteft  faith,  fince  we  cannot  fee  them. 
But  this  fame  heart  of  beauty,  your  fweet  face 
Is  in  mine  eye  ftill. 

24  me]   it  W,  G  30  moode,]   mode,  W  Scaene   .    .    . 

Angela.]   Enter  Francisco  Colonnia  and  Angelo.   G 
4  moodes]  modes  W 


Scene  4]  The  Cafe  is  Alterd  35 

Aure.     O  you  cut  my  heart  10 

with  your  fharpe  eye. 

Ange.     Nay  Lady  thats  not  fo,  your  heart's  to  hard. 

Aure.     My  beauties  hart? 

Ange.     O  no. 
I  meane  that  regent  of  affection,  Maddam,  15 

That  tramples  on  al  loue  with  fuch  contempt 
n  this  faire  breaft. 

Aur.     No  more,  your  drift  is  fauour'd, 
I  had  rather  feeme  hard  hearted 

Ang.     Then  hard  fauour'd. 
Is  that  your  meaning,  Lady? 

Aur.     Go  too  fir. 
Your  wits  are  frefh  I  know,  they  need  no  fpur.  20 

Ang.     And  therefore  you  wil  ride  them. 

Aur.     Say  I  doe. 
They  will  not  tire  I  hope? 

Ang.     No  not  with  you,  hark  you  fweet  Lady. 

¥ran.     Tis  much  pitty  Maddam. 
You  fhould  haue  any  reafon  to  retaine  25 

This  figne  of  griefe,  much  leffe  the  thing  difignde. 

Vhoe.     Griefes  are  more  fit  for  Ladies  then  their 
pleafures. 

¥ran.     That    is    for    fuch    as    follow    nought    but 
pleafures. 
But  you  that  temper  them  fo  wel  with  vertues, 
Vfing  your  griefes  fo  it  would  prooue  them  pleafures.     30 
And  you  would  feeme  in  caufe  of  griefes  &  pleafures 
equally  pleafant. 

Vhoe     Sir  fo  I  do  now. 
It  is  the  exceffe  of  either  that  I  ftriue 

So  much  to  fhun  in  all  my  proou'd  endeauours,  35 

Although  perhaps  vnto  a  generall  eye, 
I  may  appeare  moft  wedded  to  my  griefes, 

17  n]  in  W,  G  23  [Walks  aside  with  Aur.  G 


36  A  pleafant  Comedy,  called  [Act  2 

Yet  doth  my  mind  forfake  no  taft  of  pleafure, 

I  meane  that  happy  pleafure  of  the  foule, 

Deuine  and  facred  contemplation  40 

Of  that  eternall,  and  moft  glorious  bliffe, 

Propofed  as  the  crowne  vnto  our  foules. 

Fran.     I  will  be  filent,  yet  that  I  may  ferue 
But  as  a  Decade  in  the  art  of  memory 
To  put  you  ftil  in  mind  of  your  owne  vertues  45 

When  your  too  ferious  thoughts  make  you  too  fad) 
Accept  me  for  your  feruant  honored  Lady. 

Phoen.     Thofe    cerimonies    are    too    comon    fignior 
Francis, 
For  your  vncommon  grauitie,  and  iudgement, 
And  fits  them  onely,  that  are  nought  but  cerimony.  50 

Kng.     Come,  I  will  not  fue,  ftally  to  be  your  feruant, 
But  a  new  tearme,  will  you  be  my  refuge? 

Aur.     Your  refuge,  why  fir. 

Ange.     That  I  might  fly  to  you,  when  all  elfe  faile 
me, 

Aur.     And  you  be  good  at  flying,  be  my  Plouer.  55 

Kng.     Nay  take  away  the  P. 

Aur.     Tut,  then  you  cannot  fly: 

Ang.     He  warrant  you.     He  borrow  Cupids  wings. 

Aur.     Maffe  then  I  f  eare  me  youle  do  ftrange  things :     - 
I  pray  you  blame  me  not,  if  I  fufpect  you,  60 

Your  owne  confeffion  fimply  doth  detect  you, 
Nay  and  you  be  fo  great  in  Cupids  bookes, 
T'will  make  me  lealous :  you  can  with  your  lookes 
(I  warrant  you)  enflame  a  womans  heart. 
And  at  your  pleafure  take  loues  golden  dart,  65 

And  wound  the  breft  of  any  vertous  maide. 
Would  I  were  hence :   good  Faith  I  am  affraid, 

48  fignior  Francis, "l  signior,  G  50  fit  G  52  [Comes  for- 

ward with  Aur.  G  63  lealous.  D,  Mi  64  I'll  W 


Scene  5]  The  Cafe  is  Alterd  37 

You  can  conftraine  one  ere  they  be  aware. 
To  run  mad  for  your  loue? 
A«^.     O  this  is  rate. 


Scaene  6.   [5.] 
Aurelio,  Vhoenixella,  Francifco,  Angelo,  Count. 

COunt.     Clofe  with  my  daughters  gentlemen?  wel 
done, 
Tis  Hke  your  felues :  nay  lufty  Angelo, 
Let  not  my  prefence  make  you  bauke  your  fport, 
I  will  not  breake  a  minute  of  difcourfe 
Twixt  you  and  one  of  your  faire  Miftreffes.  5 

Ang.     One  of  my  miftreffes  ?  why  thinks  your  Lord- 
fhip 
I  haue  fo  many 

Count.     Many?  no  Angelo. 
I  do  not  thinke  th'aft  many,  fome  fourteene 
I  here  thou  haft,  euen  of  our  worthieft  dames, 
Of  any  note,  in  Millaine:  10 

Ang.     Nay  good  my  Lord  fourteene :  it  is  not  fo. 
Count.     By'th  the  Maffe  that  ift,  here  are  their  names 
to  fhew 
Fourteene,  or  fifteene  t'one.     Good  Angelo. 
You  need  not  be  afhamd  of  any  of  them. 
They  are  gallants  all. 

Ang.     Sbloud  you  are  fuch  a  Lord.  15 

Count.     Nay  ftay  fweet  Angelo,  I  am  difpofed 
A  little  to  be  pleafant  paft  my  couftome, 

Exit  Ang: 


69  rate.]  rare!  W,  G  Scaene  .   .   .  Count.]  Enter  count  Fer- 

NEZE.  G  12  By  'th  the]  By  th'  IV    By  the  G 


38  A  pleafant  Comedy,  called  [Act  2 

He's  gone?  he's  gone,  I  haue  dif graft  him  fhrewdly, 
Daughters  take  heede  of  him,  he's  a  wild  youth, 
Looke  what  he  fayes  to  you  beleeue  him  not,  20 

He  will  fweare  loue  to  euery  one  he  fees. 
Francifco,  giue  them  councell,  good  Francifco, 
I  dare  truft  thee  with  both,  but  him  with  neither. 
Fran.     Your  Lordfhip  yet  may  truft  both  them  with 
him.  Exunt. 

Scaene  7.   [6.] 

Count.  Chriftopher, 

Count.     Well  goe  your  waies  away,  how  now  Chrif- 
topher, 
What  newes  with  you  ? 

Chrift.     I  haue  an  humble  fuit  to  your  good  Lordfhip. 

Count.     A  fuit  Chriftopher f  what  fuit  I  prithee?  5 

Chrift.     I  would  craue  pardon  at  your  Lordfhips 
hands. 
If  it  feeme  vaine  or  fimple  in  your  fight. 

Count.     He  pardon  all  fimplicity,  Chriftopher, 
What  is  thy  fuit? 

Chrift.     Perhaps  being  now  fo  old  a  batcheler,  10 

I  fhall  feeme  halfe  vnwife,  to  bend  my  felfe 
In  ftrict  affection  to  a  poore  yong  maide. 

Count.     What?  is  it  touching  loue  Chriftopher? 
Art  thou  difpoft  to  marry,  why  tis  well. 

Chrifto.     I,  but  your  Lordfhip  may  imagine  now  15 

That  I  being  fteward  of  your  honours  houfe. 
If  I  be  maried  once,  will  more  regard 
The  maintenance  of  my  wife  and  of  my  charge. 
Then  the  due  difcharge  of  my  place  and  office : 

Count.     No,  no,  Chriftopher,  I  know  thee  honeft.        20 

Chrifto.     Good   faith  my  Lord,  yout  honour  may 
fufpect  it — but — 

Scaene  .  .  .  Chriftopher,]  om.  G        1  away,  [Exeunt  Aur.  Phcen. 
and  Francisco.    Enter  Christophero.  G  i,  5,  8,  13,  20  Chris- 

tophero  W,  G 


Scene  6]  The  Cafe  is  Alter d  39 

Count.     Then  I  fhould  wrong  thee,  thou  haft  euer 
been 
Honeft  and  true,  and  will  be  ftill  I  knowe. 

Chrif.     I  but  this  marriage  alters  many  men:  25 

And  you  may  f eare,  it  will  do  me  my  Lord, 
But  ere  it  do  fo?  I  will  vndergoe 
Ten  thoufand  feuerall  deaths. 

Count.     I  know  it  man. 
Who  wouldft  thou  haue  I  prithee? 

Chrif.     Rachel  de  prie. 
If  your  good  Lordfhip,  graunt  me  your  confent.  30 

Count.     Rachel  de  prief  what  the   poore  beggers 
daughter  ? 
Shees  a  right  handfome  maide,  how  poore  foeuer, 
And  thou  haft  my  confent,  with  all  my  hart. 

Chrif.     I  humbly  thanke  your  honour.     He  now  afke 
her  father.  'Exit.     35 

Count.     Do  fo  Chrif tofero  thou  fhalt  do  well. 
Tis  ftrange  (fhe  being  fo  poore)  he  fhould  affect  her. 
But  this  is  more  ftrange  that  my  felfe  fhould  loue  her. 
I  fpide  her,  lately,  at  her  fathers  doore, 
And  if  I  did  not  fee  in  her  fweet  face  40 

Gentry  and  nobleneffe,  nere  truft  me  more : 
But  this  perfwafion,  fancie  wrought  in  me. 
That  fancie  being  created  with  her  lookes. 
For  where  loue  is  he  thinke  his  bafeft  obiect 
Gentle  and  noble :  I  am  f arre  in  loue,  45 

And  fhall  be  forc'd  to  wrong  my  honeft  fteward, 
For  I  muft  fue,  and  feeke  her  for  my  felfe ; 
How  much  my  duetie  to  my  late  dead  wife, 
And  my  owne  deere  renowne  fo  ere  it  fwaies. 
He  to  her  father  ftraight.     Loue  hates  delays.       Kxit.     50 

30  Lordfhip  B 


40  A  pleafant  Comedy,  called  [Act  2 

Scaene  8.   [7.] 

Enter  Onion,  luniper,  Valentine,  Sebaftian, 
Balthafar,  Martino. 

Onion.     Come  on  I  faith,  lets  to  fome  exercife  or 
other  my  hearts : 
Fetch  the  hilts  fellow  luniper,  wilt  thou  play : 

Y.xit  Martino. 

lun.  I  cannot  refolue  you  ?  tis  as  I  am  fitted  with  the 
ingenuity,  quantity,  or  quality  of  the  cudgell.  5 

Valen.  How  doft  thou  baftinado  the  poore  cudgell 
with  tearmes? 

luni.  O  Ingle,  I  haue  the  phrafes  man,  and  the 
Anagrams  and  the  'Epitaphs,  fitting  the  miftery  of  the 
noble  fcience.  10 

Oni.  He  be  hangd  &  he  were  not  misbegotten  of 
fome  fencer. 

Sebaft.  Sirrah  Valentine,  you  can  refolue  me  now, 
haue  they  their  maifters  of  defence  in  other  countries 
as  we  haue  here  in  Italy?  15 

Valen.  O  Lord,  I,  efpecially  they  in  Vtopia,  there 
they  performe  their  prizes  and  chalenges,  with  as  great 
cerimony  as  the  Italian  or  any  nation  elfe. 

Bait  Indeed?  how  is  the  manner  of  it  (for  gods 
loue)  good  Valeniinef  20 

luni.  Ingle?  I  prithee  make  recourfe  vnto  vs,  wee 
are  thy  friends  and  familiars :  fweet  Ingle. 

Yalen.     Why  thus  fir. 

Oni.     God  a  mercy  good  Valentine,  nay  go  on. 

luni.     Silentium  bonus  focius  Onionus,  good  fellow    25 
Onion  be  not  fo  ingenious,  and  turbulent:   fo  fir?  and 
how?  how  fweete  Ingle? 

Yalen.  Marry,  firft  they  are  brought  to  the  publicke 
Theater: 

Scaene  7.]  Scene  IV.    A  Hall  in  the  Same.    Enter,  etc.  G 


Scene  7]  The  Cafe  is  Alterd  41 

\uni.     What?  ha?  they  Theater  there  30 

Valen.  Theaters  ?  I  and  plaies  to :  both  tragidy  and 
comedy  &  fet  foorth  with  as  much  ftate  as  can  be 
imagined  ? 

luni.  By  Gods  fo;  a  man  is  nobody,  till  he  has 
trauelled.  35 

Sebaft.  And  how  are  their  plaies?  as  ours  are? 
extemporall  ? 

Valen.  O  no?  all  premeditated  things,  and  fome  of 
them  very  good  I  faith,  my  maifter  vfed  to  vifite  them 
often  when  he  was  there.  40 

Balth.  Why  how  are  they  in  a  place  where  any  man 
may  fee  them? 

Valen.  I,  in  the  common  Theaters,  I  tell  you.  But 
the  fport  is  at  a  new  play  to  obferue  the  fway  and 
variety  of  oppinion  that  paffeth  it.  A  man  fhall  haue  45 
fuch  a  confus'd  mixture  of  iudgement,  powr'd  out  in 
the  throng  there,  as  ridiculous,  as  laughter  itfelfe :  one 
faies  he  likes  not  the  writing,  another  likes  not  the  plot, 
another  not  the  playing.  And  fometimes  a  fellow  that 
comes  not  there  paft  once  in  fiue  yeare  at  a  Parliament  50 
time  or  fo,  will  be  as  deepe  myr'd  in  cenfuring  as  the 
beft,  and  fweare  by  Gods  foote  he  would  neuer  ftirre 
his  foote  to  fee  a  hundred  fuch  as  that  is.     , 

Oni.  I  muft  trauell  to  fee  thefe  things,  I  fhall  nere 
think  well  of  my  felfe  elfe.  55 

lunip.  Fellow  Onion,  He  beare  thy  charges  and 
thou  wilt  but  pilgrimize  it  along  with  me,  to  the  land 
of  Vtopia. 

Sebaft.  Why  but  me  thinkes  fuch  rookes  as  thefe 
fhould  be  afham'd  to  iudge.  60 

Valen.  Not  a  whit?  the  rankeft  ftinkard  of  them  all, 
will  take  vpon  him  as  peremptory,  as  if  he  had  writ 
himfelfe  in  artibus  magifter. 

30  theatres  W,  G 


42  A  pleafant  Comedy,  called  [Act  2 

Sebaft.  And  do  they  ftand  to  a  popular  cenfure  for 
any  thing  they  prefent.  65 

Valen.  I  euer,  euer,  and  the  people  generally  are 
very  acceptiue  and  apt  to  applaud  any  meritable  worke, 
but  there  are  two  forts  of  perfons  that  moft  commonly 
are  infectious  to  a  whole  auditory. 

Balth.     What  be  they  ?  70 

lunip.     I  come  lets  know  them. 

Oni.     It  were  good  they  were  noted. 

Yalen.     Marry?  one  is  the  rude  barbarous  crue,  a 
people  that  haue  no  braines,  and  yet  grounded  iudge- 
ments,  thefe  will  hiffe  any  thing  that  mounts  aboue     75 
their  grounded  capacities.      But  the  other  are  worth 
the  obferuation,  I  faith. 

Omnes.     What  be  they  ?  what  be  they  ? 

Yalen.     Faith  a  few  Caprichious  gallants. 

lunip.     Caprichious f  ftay,  that  word's  for  me.  80 

Yalen.  And  they  haue  taken  fuch  a  habit  of  diflike 
in  all  things,  that  they  will  approue  nothing,  be  it  neuer 
fo  conceited  or  elaborate,  but  fit  difperft,  making  faces, 
and  fpitting,  wagging  their  vpright  eares  and  cry  filthy, 
filthy.  Simply  vttering  their  owne  condition,  and  vfing  85 
their  wryed  countenances  in  ftead  of  a  vice,  to  turne 
the  good  afpects  of  all  that  fhall  fit  neere  them,  from 
what  they  behold.  Enter  Martino  with  cudgels. 

Oni.  O  that's  well  fayd,  lay  them  downe,  come  firs. 
Who  plaies,  fellow  luniper,  Sebaftian,  Balthafar:  90 

Some  body  take  them  vp,  come. 

lunip.     Ingle  Yalentine? 

Yalen.     Not  I  fir,  I  profeffe  it  not. 

lunip.     Sebaftian. 

Sebaft.     Balthafar.  95 

Balth.     Who?  I? 

Oni.     Come,  but  one  bout.  He  giue  hem  thee,  I  faith. 

78  What  .   .   .  what]  Where  .    .    .   where  IV 


Scene  7]  The  Cafe  is  Alterd  43 

Balth.     Why,  heres  Martino. 

Oni.     Foe  he,  alas  he  cannot  play  a  whit,  man. 

lunip.     That's  all  one:   no  more  could  you  in  ftata  100 
quo  prius,  Martino,  play  with  him,  euery  man  has  his 
beginning  and  conduction. 

Mart.     Will  you  not  hurt  me  fellow  Onion  f 

Oni.  Hurt  thee,  no?  and  I  do,  put  me  among  pot- 
hearbs.  And  chop  me  to  peeces,  come  on?  105 

lunip.  By  your  fauor  fweet  bullies  giue  them 
roome,  back,  fo,  Martino,  do  not  looke  fo  thin  vpon  the 
matter. 

Oni.     Ha,  well  plaid,  fall  ouer  to  my  legge  now?  fo, 
to  your  guard  againe,  excellent,  to  my  head  now,  make  no 
home  your  blow:   fpare  not  me,  make  it  home,  good, 
good  againe. 

Sebaft:    Why  how  now  Peter? 

Valen.     Gods  fo.  Onion  has  caught  a  bruife. 

lunip.     Couragio?  be  not  caprichiousf  what?  115 

Oni.  Caprichiousf  not  I,  I  fcorn  to  be  caprichious 
for  a  f crach,  Martino  muft  haue  another  bout,  come : 

Va/.  Seb.  Balth.  No,  no,  play  no  more,  play  no 
more. 

Oni.     Foe,   tis  nothing,   a  philip,   a  deuife,   fellow  120 
luniper  prithee  get  me  a  Plantan,  I  had  rather  play 
with  one  that  had  skil  by  halfe. 

Mart.  By  my  troth,  fellow  Onion,  twas  againft  my 
will. 

Oni.     Nay  that's  not  fo,  twas  againft  my  head,  125 

But  come,  weele  ha  one  bout  more. 

lunip.     Not  a  bout,  not  a  ftroke. 

Omnes.     No  more,  no  more. 

99  Foe]   Foh,  W,  G  100  statu  W,  G  108   [Mart,  and 

Onion  play  a  bout  at  cudgels.  G  112  [Mart,  breaks  his  head.  G 

117  Martino  muft]  I  must  G  117  Come.  B,  D,  Mi,  M2 

118  Val.  .   .   .  Balth.]  Jun.  G  120  Foe,]  Foh,  JV,  G 
128  [Exit  Martino.  G 


44  A  pleafant  Comedy,  called  [Act  3 

lunip.     Why   He    giue   you   demonftration,   how   it 
came,  Thou  openeft  the  dagger  to  falfifie  ouer  with  the    130 
back  fword  frick,  and  he  interrupted,  before  he  could 
fall  to  the  clofe. 

Oni.     No,  no,  I  know  beft  how  it  was  better  the  any 
man  here,  I  felt  his  play  prefently:    for  looke  you,  I 
gathered  vpon  him  thus,  thus  do  you  fee?  for  the  double  135 
locke,  and  tooke  it  fingle  on  the  head. 

Yalen.  He  fayes  very  true,  he  tooke  it  fingle  on  the 
head. 

Sebaft.     Come  lets  go. 

Enter  Martino  with  a  cob-web. 

Mar.     Here  fellow  Onion,  heres  a  cob-web.  140 

Oni.  How  ?  a  cob- web  Martino,  I  will  haue  another 
bout  with  you  ?  S'wounds  do  you  firft  breake  my  head, 
and  then  giue  me  a  plaifter  in  fcorne?  come  to  it,  I  will 
haue  a  bout. 

Mart     God's  my  witneffe.  145 

Oni.     Tut !  your  witneffe  cannot  f erue. 

lunip.  S'bloud?  why  what,  thou  are  not  lunatike, 
art  thou  ?  and  thou  bee'ft  auoide  Mephoftophiles.  Say 
the  figne  fhould  be  in  Aries  now :  as  it  may  be  for  all 
vs,  where  were  your  life?  Anfwere  me  that?  150 

Sebaft.     Hee  fayes  well.  Onion. 

Yalen.     I  indeed  doo's  he. 

lunip.  Come,  come,  you  are  a  foolifh  Naturalift, 
go,  get  a  white  a  of  an  egge,  and  a  little  flax,  and  clofe 
the  breach  of  the  head,  it  is  the  moft  conducible  thing  155 
that  can  be.  Martino,  do  not  infinuate  vpon  your  good 
fortune,  but  play  an  honeft  part  and  beare  away  the 
bucklers.  lE^xeunt. 

130  openedst  thy  W    open'dst  the  G  131  frick,]  trick,  W,  G 

148  Mephostophilus   W,  G  152  I  indeed]   Indeed  W,  G 

154  a  of]  of  W,  G 


Scene  2]  The  Cafe  is  Alterd  45 

Act  3.     Scsene  i. 
Enter  Angela  folus. 

ANge.     My  yong  and  fimple  friend,  Paulo  Ferneze, 
Bound  me  with  mighty  folemne  coniurations, 
To  be  true  to  him,  in  his  loue,  to  Rachel, 
And  to  folicite  his  remembrance  ftill, 

In  his  enforced  abfence,  much,  I  faith.  5 

True  to  my  friend  in  cafes  of  affection? 
In  womens  cafes  ?  what  a  ieft  it  is  ? 
How  filly  he  is,  that  imagines  it! 
He  is  an  affe  that  will  keepe  promife  ftricktly 
In  any  thing  that  checkes  his  priuate  pleafure ;  10 

Chiefly  in  loue.     S'bloud  am  not  I  a  man? 
Haue  I  not  eyes  that  are  as  free  to  looke? 
And  bloud  to  be  enflam'd  as  well  as  his? 
And  when  it  is  fo,  fhall  I  not  purfue 

Mine  owne  loues  longings,  but  preferre  my  friends?       15 
I  tis  a  good  foole,  do  fo,  hang  me  then, 
Becaufe  I  fwore,  alas,  who  doo's  not  know, 
That  louers  periuries  are  ridiculous  ? 
Haue  at  thee  Rachel:  He  go  court  her  fure : 
For  now  I  know  her  father  is  abroad.       'Enter  laques.     20 
S'bloud  fee,  he  is  here,  6  what  damn'd  lucke  is  this? 
This  labour's  loft,  I  muft  by  no  meanes  fee  him. 

tau,  dery,  dery,  Exit. 

Scsene  2. 
laques,  Chriftophero. 

IAq.     Mif chief e  and  hell,  what  is  this  man  a  fpirit, 
Haunts  he  my  houfes  ghoft?  ftill  at  my  doore? 
He  has  beene  at  my  doore,  he  has  beene  in, 
In  my  deere  doore :  pray  God  my  gold  be  faf e. 

Act    .   .   .  folus.]  Act  III.     Scene  I.     The  Street  before  Jaques 
DE  Prie's  House.    Enter  Angelo.  G  23   [Exit  singing.  G 

Scaene  .   .   .  Chriftophero.]  om.  G 


46  A  pleafant  Comedy,  called  [Act  3 

'Enter  Chriftophero. 
Gods  pitty,  heres  another.     Rachel,  ho  Rachel.  5 

Chrif.     God  faue  you  honeft  father. 

laq.      Rachel,    Gods    Hght,    come    to    me,    Rachel, 
Rachel!  Exit. 

Chrif.     Now  in  Gods  name  what  ayles  he?  this  is 
ftrange ! 
He  loues  his  daughter  fo,  He  lay  my  life. 
That  hee's  afraid,  hauing  beene  now  abroad,  10 

I  come  to  feeke  her  loue  vnlawfully.        Enter  laques. 

laq.    Tis  faf e,  tis  faf e,  they  haue  not  rob'd  my  treafure. 

Chrif.     Let  it  not  feeme  off enfiue  to  you  fir. 

laq.     Sir,  Gods  my  life,  fir,  fir,  call  me  fir. 

Chrif.     Good  father  here  me. 

laq.     You  are  moft  welcome  fir,  15 

I  meant  almoft;  and  would  your  worfhip  fpeake? 
Would  you  abafe  your  felfe  to  fpeake  to  me? 

Chrif.     Tis  no  abafing  father:   my  intent 
Is  to  do  further  honour  to  you  fir 
Then  onely  fpeake :  which  is  to  be  your  fonne.  20 

laq.     My  gold  is  in  his  noftrels,  he  has  fmelt  it, 
Breake   breaft,   breake  heart,    fall   on   the   earth   my 

entrailes. 
With  this  fame  burfting  admiration! 
He  knowes  my  gold,  he  knowes  of  all  my  treafure, 
How  do  you  know  fir?  whereby  do  you  gueffe?  25 

Chrif.     At  what  fir  ?  what  ift  you  meane  ? 

laq.     I  aske,  an't  pleafe  your  Gentle  worfhip,  how 
you  know? 

I  meane,  how  I  fhould  make  your  worfhip  know 
That  I  haue  nothing —  30 

To  giue  with  my  poore  daughter  ?  I  haue  nothing : 
The  very  aire,  bounteous  to  euery  man, 
Is  fcant  to  me,  fir. 

12,  14,  24  [Aside.  G  18  abusing  IV 


Scene  3]  The  Cafe  is  Alter d  47 

Chrif.     I  do  thinke  good  father,  you  are  but  poore, 

laq.     He  thinkes  fo,  harke,  but  thinke  fo :  35 

He  thinkes  not  fo,  he  knowes  of  all  my  treafure.     Exit. 

Chrif.     Poore  man  he  is  fo  ouerioyed  to  heare 
His  daughter  may  be  paft  his  hopes  beftowed, 
That  betwixt  feare  and  hope  (if  I  meane  fimply) 
He  is  thus  paffionate.  ^nter  laques.     40 

laq.     Yet  all  is  faf e  within,  is  none  without  ? 
No  body  breake  my  walles  ? 

Chrif.     What   fay   you    father,    fhall   I    haue   your 
daughter  ? 

laq.     I  haue  no  dowry  to  beftow  vpon  her. 

Chrif.     I  do  expect  none,  father. 

laq.     That  is  well,  45 

Then  I  befeech  your  worfhip  make  no  queftion 
Of  that  you  wifh,  tis  too  much  fauour  to  me. 

Chrif.     He  leaue  him  now  to  giue  his  paffions  breath, 
Which  being  fetled,  I  will  fetch  his  daughter: 
I  fhall  but  moue  too  much,  to  fpeake  now  to  him.  50 

^xit  Chriftophero. 

laq.     So,  hee's  gone,  would  all  were  dead  and  gone, 
That  I  might  Hue  with  my  deere  gold  alone. 


Scaene  3. 

laques,  Count. 

COunt.     Here  is  the  poore  old  man. 
laq.     Out  of  my  foule  another,  comes  he  hither? 
Count.     Be   not   difmaid   old   man,   I    come  to 
cheere  you. 
laq.     To  me  by  heauen, 
Turne  ribs  to  braffe,  turne  voice  into  a  trumpet,  5 

36   [Aside  and  exit.  G  Scaene   .    .    .   Count.l   Enter  count 

Ferneze.  G 


48  A  plea f ant  Comedy,  called  [Act  3 

To  rattle  out  the  battels  of  my  thoughts, 
One  comes  to  hold  me  talke,  while  th'  other  robbes  me. 

^Exit. 

Count.     He  has  forgot  me  fure:    what  fhould  this 
meane? 
He  feares  authority,  and  my  want  of  wife 
Will  take  his  daughter  from  him  to  defame  her :  10 

He  that  hath  naught  on  earth  but  one  poore  daughter. 
May  take  this  extafie  of  care  to  keepe  her. 

'Enter  laques. 

laq.     And  yet  tis  faf e :  they  meane  not  to  vfe  force, 
But  fawning  comming.     I  fhall  eafly  know 
By  his  next  queftion,  if  he  thinke  me  rich,  15 

Whom  fee  I?  my  good  Lord? 

Count.     Stand  vp  good  father,  I  call  thee  not  father 
for  thy  age. 

But  that  I  gladly  wifh  to  be  thy  fonne. 
In  honoured  marriage  with  thy  beauteous  daughter.         20 

laq.     O,  fo,  fo,  fo,  fo,  fo,  this  is  for  gold. 
Now  it  is  fure,  this  is  my  daughters  neatneffe. 
Makes  them  beleeue  me  rich.     No,  my  good  Lord, 
He  tell  you  all;  how  my  poore  hapleffe  daughter 
Got  that  attire  fhe  weares  from  top  to  toe.  25 

Count.     Why  father,  this  is  nothing. 

laq.     O  yes,  good  my  Lord. 

Count.     Indeed  it  is  not. 

laq.     Nay  fweet  Lord  pardon  me?  do  not  diffemble, 
Heare  your  poore  beadf-man  fpeake ;  tis  requifite  30 

That  I  (fo  huge  a  beggar)  malce  account 
Of  things  that  paffe  my  calling:   fhe  was  borne 
T'enioy  nothing  vndemeath  the  fonne : 
But  that,  if  fhe  had  more  then  other  beggars 
She  fhould  be  enuied :   I  will  tell  you  then  35 

7   [Aside  and  exit.   G  14  comming.]    cunning.   G 

15  [Aside.  G  17  (second)  father]  good  father  W  [good] 

father  G  23  rich.  [Aside.]  G 


Scene  4]  The  Cafe  is  Alter d  49 

How  fhe  had  all  fhe  weares,  her  warme  fhooes  (God 

wot) 
A  kind  maide  gaue  her,  feeing  her  go  barefoot 
In  a  cold  frofty  morning;   God  requite  her; 
Her  homely  ftockings 

Count.     Father,  He  heare  no  more,  thou  mou'ft  too 
much  40 

With  thy  too  curious  anfwere  for  thy  daughter, 
That  doth  deferue  a  thoufand  times  as  much. 
He  be  thy  Sonne  in  law,  and  fhe  fhall  weare 
Th'attire  of  Counteffes. 

lag.     O  good  my  Lord, 
Mock  not  the  poore,  remembers  not  your  Lordfhip,        45 
That  pouerty  is  the  precious  gift  of  God. 
As  well  as  riches,  tread  vpon  me,  rather 
Then  mocke  my  poorenes. 

Count.     Rife  I  fay: 
When  I  mocke  poorenes,  then  heauens  make  me  poore.     50 

Enter  Nuntius. 

Scaene  7.   [4.] 
Nuncio,  Count. 

NVn.     See  heres  the  Count  Ferneze,  I  will  tell  him 
The  hapleffe  accident  of  his  braue  sonne. 
That  hee  may  feeke  the  fooner  to  redeeme  him. 

Exit  laques. 
God  faue  your  Lordfhip. 

Count.     You  are  right  welcome  fir. 

Nun.      I   would   I   brought   fuch   newes   as   might 

deferue  it.  5 

Count.     What,  bring  you  me  ill  newes? 

Nun.     Tis  ill  my  Lord, 

Yet  fuch  as  vfuall  chance  of  warre  affoords, 

47  [Kneels.  G  50  heaven  W,  G  50  poore.  .   .   .  Count. 

[Exit  Jaques.    Enter  a  Messenger.  G 


5©  A  pleafant  Comedy,  called  [Act  3 

And  for  which  all  men  are  prepar'd  that  vfe  it, 
And  thofe  that  vfe  it  not,  but  in  their  friends, 
Or  in  their  children. 

Count.     Ill  newes  of  my  fonne?  10 

My  deere  and  onely  fonne,  He  lay  my  foule, 
Ay  me  accurs'd,  thought  of  his  death  doth  wound  me, 
And  the  report  of  it  will  kill  me  quite. 

Nun.     Tis  not  fo  ill  my  Lord. 

Count.     How  then?  15 

Nun.     Hee's  taken  prifoner,  and  that's  all. 

Count.     That's  enough,  enough, 
I  fet  my  thoughts  on  loue,  on  feruile  loue. 
Forget  my  vertuous  wife,  feele  not  the  dangers, 
The  bands  and  wounds  of  mine  owne  flefh  and  bloud,     20 
And  therein  am  a  mad  man:   therein  plagu'd, 
With  the  moft  iuft  aflfliction  vnder  heauen. 
Is  Maximilian  taken  prifoner  to? 

Nun.     My  good  my  Lord,  he  is  return'd  with  prif- 
oners. 

Count.     Ift  poffible,  can  Maximilian  f  25 

Returne,  and  view  my  face  without  my  fonne. 
For  whom  he  fwore  fuch  care  as  for  himfelfe? 

Nun.     My  Lord  no  care  can  change  the  euents  of 
war. 

Count.     O !  in  what  tempefts  do  my  fortunes  faile, 
Still  wrackt  with  winds  more  foule  and  contrary,  30 

Then  any  northen  gueft,  or  Southerne  flawe? 
That  euer  yet  inforc't  the  fea  to  gape, 
And  fwallow  the  poore  Marchants  trafhque  vp? 
Firft  in  Vieenza,  loft  I  my  firft  fonne ; 

Next  here  in  Millaine  my  moft  deere  lou'd  Lady :  35 

And  now  my  Paulo,  prifoner  to  the  French, 
Which  laft  being  printed  with  my  other  griefes. 
Doth  make  fo  huge  a  volume,  that  my  breft 

12  Ay]  Ah  W,  G         24  My]  No,  W,  G         31  gueft,]  gust,  W,  G 


Scene  5]  The  Cafe  is  Alter d  $1 

Cannot  containe  them.     But  this  is  my  loue! 

I  muft  make  loue  to  Rachel,  heauen  hath  throvvne,  40 

This  vengeance  on  me  moft  deferuedly: 

Were  it  for  nought  but  wronging  of  my  fteward. 

Nun.     My  Lord  fince  onely  mony  may  redreffe 
The  worft  of  this  miffortune,  be  not  griued, 
Prepare  his  ranfome  and  your  noble  fonne  45 

Shall  greete  your  cheered  eyes,  with  the  more  honour. 

Count.     I  will  prepare  his  ranfome :   gratious  heauen 
Grant  his  imprifonment  may  be  his  worft, 
Honored  and  fouldier-like  imprifonment. 
And  that  he  be  not  manacled  and  made  50 

A  drudge  to  his  proude  foe.     And  here  I  vow, 
Neuer  to  dreame  of  feeme-les  amorous  toyes, 
Nor  aime  at  other  ioy  on  earth, 
But  the  fruition  of  my  onely  fonne.  Exunt 


Scsene  5. 

Enter  laques  with  his  gold  and  a  f cuttle  full 
of  horfe-dung. 

Iaq,     He's  gone :   I  knew  it ;  this  is  our  hot  louer, 
I  will  beleeue  them !  I !  they  may  come  in 
Like  fimple  woers,  and  be  arrant  theeues, 
And  I  not  know  them !  tis  not  to  be  told. 
What  feruile  villanies,  men  will  do  for  gold,  5 

O  it  began  to  haue  a  huge  ftrong  fmell. 
Which  lying  fo  long  together  in  a  place; 
He  giue  it  vent,  it  fhall  ha  fhift  inough, 
And  if  the  diuell,  that  enuies  all  goodneffe, 

53  other]   any  other  G  Scaene  5.]    Scene  II.     A  Court-yard, 

at  the  back  of  Jaques'  House.    Enter,  etc.  (horfe-  am.)  G 
7  Which]  With  W,  G 


52  A  pleafant  Comedy,  called  [Act  4 

Haue  told  them  of  my  gold,  and  where  I  kept  it,  10 

He  fet  his  burning  nofe  once  more  a  worke, 

To  fmell  where  I  remou'd  it,  here  it  is : 

He  hide  and  couer  it  with  this  horfe-dung : 

Who  will  fuppofe  that  fuch  a  precious  neft 

Is  crownd  with  fuch  a  dunghill  excrement?  15 

In  my  deere  life,  fleepe  fweetly  my  deere  child. 

„Scarce  lawfully  begotten,  but  yet  gotten, 

„And  thats  enough.    Rot  all  hands  that  come  neere  thee 

Except  mine  owne.     Burne  out  all  eyes  that  fee  thee, 

Except  mine  owne.     All  thoughts  of  thee  be  poyfon        20 

To  their  enamor'd  harts,  except  mine  owne, 

He  take  no  leaue,  fweet  Prince  great  Emperour, 

But  fee  thee  euery  minute.  King  of  Kings, 

He  not  be  rude  to  thee,  and  turne  my  backe. 

In  going  from  thee,  but  go  backward  out:  25 

With  my  face  toward  thee,  with  humble  curtefies. 

None  is  within.     None  ouerlookes  my  wall. 

To  haue  gold,  and  to  haue  it  faf e,  is  all.  "Exit. 


Actus  3.   [4.]     Scsene  i. 

Knter  Maximilian,  with  fouldiers  Chamounf, 
Camilla,  Fernese,  Tacue. 

Max.  Lord  Chamount  and  your  valient  friend  there, 
I  cannot  fay  welcome  to  Millaine:  your  thoughts  and 
that  word  are  not  muficall,  but  I  can  fay  you  are  come 
to  Millaine: 

Vac.     Mort  diew.  5 

Cha.     Gar  foone. 

13  [Digs  a  hole  in  the  ground.  G  Actus  ...  I.]  Scene  III. 

A  Gallery  in  count  Ferneze's  House.    Enter,  etc.  (Ferneze  om.)  G 
6  [Takes  Pacue  aside.  G 


Scene  i]  The  Cafe  is  Alterd  53 

Max.  Gentlemen  (I  would  cal  an  Emperour  fo) 
you  are  now  my  prifoners,  I  am  forry,  marry  this,  fpit 
in  the  face  of  your  fortunes,  for  your  vfage  fhall  be 
honorable.  10 

Cam.     Wee  know  it  fignior  Maximilian, 
The  fame  of  al  your  actions  founds  nought  elfe. 
But  perfect  honour  from  her  fwelling  cheeks. 

Max.  It  fhall  do  fo  ftill  I  affure  you,  and  I  will  giue 
you  reafon,  there  is  in  this  laft  action  (you  know)  a  15 
noble  gentleman  of  our  party,  &  a  right  valient;  fem- 
blably  prifoner  to  your  general,  as  your  honor'd  felfe's 
to  me,  for  whofe  faf ety,  this  tongue  hath  giuen  warrant 
to  his  honorable  father,  the  Count  Ferneze.  You 
conceiue  me.  Cam.     I  fignior.     20 

M-ax.  Well?  then  I  muft  tell  you  your  ranfomes  be 
to  redeeme  him,  what  thinke  you?  your  anfwer. 

Cam.     Marry  with  my  Lords  leaue  here  I  fay  fignior, 
This  free  &  ample  offer  you  haue  made, 
Agrees  well  with  your  honour,  but  not  ours :  25 

For  I  thinke  not  but  Chamount  is  afwell  borne 
As  is  Ferneze,  then  if  I  miftake  not. 
He  fcornes  to  haue  his  worth  fo  vnderprifed, 
That  it  fhould  neede  an  adiunct,  in  exchange. 
Of  any  equall  fortune.     Noble  Signiort  30 

I  am  a  fouldier,  and  I  loue  Chamount, 
Ere  I  would  brufe  his  eftimation. 
With  the  leaft  ruine  of  mine  owne  refpect. 
In  this  vild  kind,  thefe  legs  fhould  rot  with  irons, 
This  body  pine  in  prifon,  till  the  flefh  35 

Dropt  from  my  bones  in  flakes,  like  withered  leaues, 
In  heart  of  Autumne,  from  a  ftubborne  Oke. 

Maxi.  Mounfieur  Gafper  (I  take  it  fo  is  your 
name)  mifprife  me  not,  I  wil  trample  on  the  hart,  on 
the  foule  of  him  that  fhall  fay,  I  will  wrong  you :  what    40 

34  vild]  vile  W,  G  36  drop  W 


54  A  pleafant  Comedy,  called  [Act  4 

I  purpofe,  you  cannot  now  know ;  but  you  fhall  know, 
and  doubt  not  to  your  contentment.  Lord  Chamount, 
I  will  leaue  you,  whileft  I  go  in  and  prefent  my  felfe 
to  the  honorable  Count,  till  my  regreffion  fo  pleafe  you, 
your  noble  feete  may  meafure  this  priuate,  pleafant  and  45 
moft  princely  walke,  Souldiers  regard  them  and  refpect 
them. 

Pac.     O  Ver  bon:  excellenta  gull,  he  tak'a  my  Lord 
Chamount     for     Mounfieur     Gafpra,     &     Mounfieur 
Gafpra  for  my  Lord  Chamont,  6  dis  be  braue  for  make     50 
a  me  laugh'a,  ha,  ha,  ha,  6  my  heart  tickla. 

Cam.     I  but  your  Lordfhip  knowes  not  what  hard 
fate 
Might  haue  purfued  vs,  therefore  howfoere 
The  changing  of  our  names  was  neceffary 
And  we  muft  now  be  careful!  to  maintaine  55 

This  error  ftrongly,  which  our  owne  deuife. 
Hath  thruft  into  their  ignorant  conceits. 
For  fhould  we  (on  the  tafte  of  this  good  fortune) 
Appeare  our  felues,  t'would  both  create  in  them 
A  kinde  of  iealoufie,  and  perchaunce  inuert  60 

Thofe  honourable  courfes  they  intend. 

Cha.     True  my  deere  Gafper:  but  this  hangby  here. 
Will  (at  one  time  or  other)  on  my  foule 
Difcouer  vs :   A  fecret  in  his  mouth 

Is  like  a  wild  bird  put  into  a  cage,  65 

Whofe  doore  no  fooner  opens,  but  tis  out. 
But  firra,  if  I  may  but  know 
Thou  vtterft  it 

Pac.     Vtteria?  vat  Mounfieur? 

Cha.     That  he  is  Gafper,  and  I  true  Chamount.  70 

Pac.     O  pardone  moy,  fore  my  tongue  fhall  put  out 
de  fecreta. 
Shall  breede  de  cankra  in  my  mouth. 

Count.     Speake  not  fo  loud  Pacue. 

47  [Exit.  G  51  [Aside.  G  74  Count.]  Cam.  W,  G 


Scene  2]  The  Cafe  is  Alterd  55 

Vac.     Foe,  you  fhall  not  heare  foole,  for  all  your     75 
long  eare, 

Reguard  Mounfieur :  you  be  de  Chamont,    Chamont  be 
Gafpra. 

[Sc3ene  2.] 

Knter  Count  Ferneze,  Maximilian,  Francefco,  Au- 
relia,  Fhoenixella,  Finio. 

Cha.     Peace,  here  comes  Maximilian. 

Cam.     O  belike  that's  the  Count  Ferneze,  that  old 
man. 

Cha.     Are  thofe  his  daughters,  trow? 

Cam.     I  fure,  I  thinke  they  are.  5 

Cha.     Fore  God  the  taller  is  a  gallant  Lady. 

Cam.     So  are  they  both  beleeue  me. 

Max.     True  my  honorable  Lord,  that  Chamont  was 
the  father  of  this  man. 

Count.     O  that  may  be,  for  when  I  loft  my  fonne,         10 
This  was  but  yong  it  feemes. 

Fran.     Faith  had  Camilla  liued, 
He  had  beene  much  about  his  yeares,  my  Lord. 

Count.     He  had  indeed,  well,  fpeake  no  more  of  him. 

Max.  Signior  perceiue  you  the  errour?  twas  no  15 
good  office  in  vs  to  ftretch  the  remembrance  of  fo  deere 
a  loffe.  Count  Ferneze,  let  fommer  fit  in  your  eye, 
looke  cheerefully  fweete  Count,  will  you  do  me  the 
honour  to  confine  this  noble  fpirit  within  the  circle  of 
your  armes?  20 

Count.     Honor'd   Chamont  reach   me  your   valiant 
hand, 
I  could  haue  wifht  fome  happier  accident, 
Had  made  the  way  vnto  this  mutuall  knowledge. 
Which  either  of  vs  now  muft  take  of  other, 

75  Foe,]   Foh!  G  75  not]   om.  W  75  de  fool,  G 

77  de]  om.  G  Scsene  2.]  om.  G 


56  A  pleafant  Comedy,  called  [Act  4 

But  fure  it  is  the  pleafure  of  our  fates,  25 

That  we  fhould  thus  be  wrack't  on  Fortunes  wheele. 
Let  vs  prepare  with  fteeled  patience 
To  tread  on  torment,  and  with  mindes  confirm'd 
Welcome  the  worft  of  enuy. 

Max.  Noble  Lord,  tis  thus.  I  haue  here  (in  mine  30 
honour)  fet  this  gentleman  free,  without  ranfome,  he 
is  now  himfelfe,  his  valour  hath  deferu'd  it,  in  the  eye 
of  my  iudgement.  Mounfieur  Gafper  you  are  deere 
to  me :  fortuna  non  mutuat  genus.  But  to  the  maine, 
if  it  may  fquare  with  your  Lordfhips  liking,  and  his  35 
loue,  I  could  defire  that  he  were  now  inftantly  imployed 
to  your  noble  Generall  in  the  exchange  of  Femes e  for 
your  felfe,  it  is  the  bufineffe  that  requires  the  tender 
hand  of  a  friend. 

Count.     I,  and  it  would  be  with  more  fpeed  effected,    40 
If  he  would  vndertake  it. 

Max.     True   my    Lord.      Mounfieur    Gafper,    how 
ftand  you  affected  to  this  motion? 

Cha.     My  duty  muft  attend  his  Lordfhips  will. 

Max.     What  fayes  the  Lord  Chamont?  45 

Cam.     My  will  doth  then  apprroue  what  thefe  haue 
vrg'd. 

Max.  Why  there  is  good  harmony,  good  muficke 
in  this :  Mounfieur  Gafper,  you  fhall  protract  no  time, 
onely  I  will  giue  you  a  bowle  of  rich  wine  to  the  health 
of  your  Generall,  another  to  the  fucceffe  of  your  50 
iourney,  and  a  third  to  the  loue  of  my  fword.  Paffe. 
Exeunt  all  hut  Aurelia  and  Fhcenivella. 

Aure.     Why  how  now  fitter  in  a  motley  mufe? 
Go  to,  thers  fomewhat  in  the  wind,  I  fee. 
Faith  this  browne  ftudy  fuites  not  with  your  blacke. 
Your  habit  and  your  thoughts  are  of  two  colours.  55 

Fhoen.     Good  faith  me  thinkes  that  this  young  Lord 

25  fure]  since  G  35  and  his]  his  W  38  is  the]  is  a  G 


Scene  3]  The  Cafe  is  Alterd  57 

Chamont  fauours  my  mother,  fifter,  does  he  not? 

Aure.     A  mothelry  conceite,  6  bHnd  excufe, 
BHnder  then  loue  himfelfe.    Well  fifter,  well. 
Cupid  hath  tane  his  ftand  in  both  your  eyes,  The  cafe    60 
is  alterd. 

Vhoen.     And  what  of  that? 

Aure.     Nay  nothing  but  a  Saint. 
Another  Bridget,  one  that  for  a  face 
Would  put  downe  Vefta,  in  whofe  lookes  doth  fwim, 
The  very  fweeteft  creame  of  modefty.  65 

You  to  turne  tippet?  fie,  fie,  will  you  giue 
A  packing  penny  to  Virginity. 
I  thought  youl'd  dwell  fo  long  in  Cypres  He, 
You'd  worfhip  Maddam  Venus  at  the  length; 
But  come,  the  ftrongeft  fall,  and  why  not  you  ?  70 

Nay,  do  not  f  rowne. 

Phcen.     Go,  go,  you  foole.     Adiew.  Exit. 

Aure.    Well  I  may  ieft,  or  fo:   but  Cupid  knowes 
My  taking  is  as  bad,  or  worfe  then  hers. 
O  Mounfieur  Gafperf  if  thou  bee'ft  a  man. 
Be  not  aiTraid  to  court  me,  do  but  fpeake,  75 

Challenge  thy  right  and  weare  it:    for  I  fweare 
Till  thou  arriud'ft,  nere  came  affection  here.         Exit. 

[Scaene  3.] 
Enter  Pacue,  Finio. 

Fin.  Come  on  my  fweet  finicall  Pacue,  the  very 
prime  Of  Pages,  heres  an  excellent  place  for  vs  to 
practife  in.  No  body  fees  vs  here,  come  lets  to  it. 

Enter  Onion. 

Pac.     Contenta :   Reguarde,  vou  le  Preimer. 

58  motherly  W,  G  68  Cyprus   W  71  adiew]   om.  W 

Scaene  3.]     Act  IV.     Scene  I.    A  Room  in  count  Ferneze's  House. 
Enter,  etc.  G 


58  A  pleafant  Comedy,  called  [Act  4 

Oni.     Sirra  Finiof  5 

Pac.     Mort  deiu  le  pefant. 

Oni.     Didft  thou  fee  Valentine? 

¥inio.     Valentine?  no. 

Oni.     No  ? 

Fim'.     No.     Sirrah  Onion,  whither  goeft?  10 

Oni.  O  I  am  vext,  he  that  would  truft  any  of  thefe 
lying  trauellers. 

"Finio.     I  prithee  ftay  good  Onion. 

Pac.     Mounfieur  Onion,  vene  ca,  come  hidera,  le 
vou  prey.     By  gar  me  ha  fee  two,  tree,  foure  hundra     15 
towfand  of  your  Coufan  hang.     Lend  me  your  hand, 
fhall  prey  for  know  you  bettra. 

Oni.  I  thanke  you  good  fignior  Varla  vouf  O  that 
I  were  in  an  other  world,  in  the  Ingies,  or  fome  where, 
that  I  might  haue  roome  to  laugh :  20 

Pac.  A  we  fort  boon :  ftand  ?  you  be  deere  now,  me 
come.  Boon  iour  Mounfieur.  Vnder  the  arme. 

Fin.     God  morrow  good  fignior. 

Pac     By  gar,  be  mufh  glad  for  fee  you. 

Fin     I  returne  you  moft  kind  thanks  fir.  25 

Oni.     How?  how?  Sbloud  this  is  rare? 

Pac.  Nay,  fhall  make  you  fay  rare  by  and  by, 
Reguard  Mounfieur  Finio,  The  fhoulder 

Fin.     Signior  Fache. 

Vac.     Dieu  vou  gard  Mounfieur.  30 

Fin.     God  faue  you  fweet  fignior. 

Pac.     Mounfieur  Onion?  is  not  fort  boon. 

Oni.  Beane?  quoth  he,  would  I  were  in  debt  of  a 
pottle  of  beanes  I  could  do  as  much. 

Fin.     Welcome  fignior,  whats  next?  35 

Pac.  O  here.  Void  de  grand  admiration,  as  fhould 
meet  perchance  Mounfieur  Finio. 

Fin.     Mounfieur  Facue' 

II  thefe]  thofe  W        21  you  be]  you  G      22  Vnder  .    .   .  arme.] 
om.  G         24  me  be  G         28  The  fhoulder]  om.  G         31  fignior  Mi 


Scene  3]  The  Cafe  is  Alterd  59 

Vac.     lefu  ?  by  Gar  who  thinke  wee  fhall  meete  here  ? 

Fiw.     By  this  hand  I  am  not  a  httle  proud  of  it,  fir     40 

Oni:  This  trick  is  onely  for  the  the  chamber,  it  can- 
not be  cleanly  done  abroad. 

Vac.     Well  what  fay  you  for  dis  den?  Mounfieur. 

Vin.     Nay  pray,  fir. 

Vac.     Par  ma  foy  vou  bein  encounters?  45 

Vin    What  doe  you  meane  fir,  let  your  gloue  alone. 

Vac.     Comen,  fe  porte  la  fante. 

Fiw.     Faith  exceeding  well  fir. 

Vac,     Trot,  be  mufh  ioy  for  heire. 

Vin:    And  how  ift  with  you  fweet  fignior  Vache.  50 

Vac.     Fat  comme  vou  voyer. 

Oni.  Yong  gentlemen?  fpirits  of  bloud,  if  euer 
youle  taft  of  a  fweet  peece  of  mutton,  do  Onion  a  good 
turne  now. 

Pac.     Que  que,  parla  Mounfeir,  what  ift.  55 

Oni.     Faith  teach  me  one  of  thefe  tricks. 

Pac.     O  me  fhall  doe  prefently,  ftand  you  deere,  you 
fignior  deere,  my  felfe  is  here :    fo  fort  bein,  now  I 
parle  to  Mounfeir  Onion,   Onion  pratla  to  you,  you 
fpeaka  to  me,  fo,  and  as  you  parle  chang  the  bonet,     60 
Mounfeir  Onion. 

Oni.     Mounfeiur  Vinio. 

Fin.     Mounfeur  Vacue. 

Pac.     Pray  be  couera. 

Oni.     Nay  I  befeech  you  fir.  65 

Fin.     What  do  you  meane. 

Pac.     Pardon  moy,  fhall  be  fo, 

Oni     O  God  fir. 

Fin.     Not  I  in  good  faith  fir. 

Vac.     By  gar  you  muft.  70 

Oni:     It  fhall  be  yours. 

39  lefu?]  om.  G  41  for  the  W,  G  42  cleverly  W 

42  abroad,  Mi  43  Mounfieur:  Mi  45  vou]  vous  voila  G 

49  hear  heire.  W        62-3  Oni.  Monfieur  Pacue.  W 


6o  A  pleafant  Comedy,  called  [Act  4 

Fin.     Nay  then  you  wrong  me, 
Oni.     Well  and  euer  I  come  to  be  great : 
Fac.     You  be  big  enough  for  de  Onion  already, 
Oni.     I  meane  a  great  man.  75 

Fin.  Then  thou'dft  be  a  monfter. 
Oni.  Well  God  knowes  not  what  fortune  may  doe, 
commaund  me,  vfe  me  from  the  foule  to  the  crowne, 
and  the  crowne  to  the  foule:  meaning  not  onely  from 
the  crowne  of  the  head,  and  the  fole  of  the  foot,  but  80 
alfo  the  foote  of  the  mind  and  the  crownes  of  the 
purfe,  I  cannot  ftay  now  yong  gentlemen  but — time 
was,  time  is,  and  time  fhall  be.  Kxeunt. 


[Scsene  4.] 

Knter  Chamount,  Camillo. 

Cha.     Sweet  lafper  I  am  forry  we  muft  part, 
But  ftrong  neceffity  enforceth  it. 
Let  not  the  time  feeme  long  vnto  my  friend. 
Till  my  returne  for  by  our  loue  I  fweare 
(The  f acred  fpheare  wherein  our  foules  are  knit)  5 

I  will  endeauour  to  effect  this  bufines 
With  all  induftrious  care  and  happy  fpeed. 

Cam.     My  Lord  thefe  circumftances  would  come  well, 
To  one  leffe  capable  of  your  defert 

Then  I :   in  whom  your  mirrit  is  confirmed  10 

With  fuch  authenticall  and  grounded  proues. 

Cha.     Well  I  will  vfe  no  more.     Gafper  adiew. 

Cam.     Farewell  my  honored  Lord, 

Cha.     Commend  me  to  the  Lady,  my  good  Gafper: 

Cam.     I  had  remembred  that  had  not  you  vrgd  it.         15 

Cha.     Once  more  adiew  fweet  Gafper. 

Cam.     My  good  Lord.  Exit  Camillo. 

Scsene  4.]  Scene  II.    Another  Room  in  the  Same.    Enter,  etc.  G 
I  Gasper,  G 


Scene  5]  The  Cafe  is  Alterd  61 

Cha.     Thy  vertues  are  more  precious  then  thy  name. 
Kind  gentleman  I  would  not  fell  thy  loue. 
For  all  the  earthly  obiects  that  mine  eyes, 
Haue  euer  tafted,  fure  thou  art  nobly  borne,  20 

How  euer  fortune  hath  obfcurd  thy  birth : 
For  natiue  honour  fparkles  in  thine  eyes. 
How  may  I  bleffe  the  time  wherein  Chamont 
My  honored  father  did  furprife  vicenza, 
Where  this   my   friend    (knowen  by  no  name)    was 

found,  25 

Being  then  a  child  and  fcarce  of  power  to  fpeake, 
To  whom  my  father  gaue  this  name  of  Gafper, 
And  as  his  owne  refpected  him  to  death, 
Since  when  wee  two  haue  fhard  our  mutuall  fortunes. 
With  equall  fpirits,  and  but  deathes  rude  hand,  30 

No  violence  fhall  diffolue  this  facred  band.  Kxit 


[Scsene  5.] 

'Enter  luniper  in  his  [hop  finging:  to  him  Onion. 

Oni.  Fellow  luniper,  no  more  of  thy  fongs  and 
fonets,  fweet  luniper,  no  more  of  thy  hymnes  and 
madrigals,  thou  fing'ft,  but  I  figh, 

luni.  Whats  the  matter  Feter  ha  ?  what  in  an  Acad- 
emy ftill,  ftill  in  fable,  and  coftly  black  array?  ha?  5 

Oni.  Prithee  rife  mount,  mount  fweet  luniper,  for 
I  goe  downe  the  wind,  and  yet  I  puffe :  for  I  am  vext. 

luni.     Ha    Bully?    vext?    what    intoxicate?    is    thy 
braine  in  a  quintef cence ?  an  Idea?  a  metamorphofis ? 
an  Apology  ?  ha  rogue  ?  come  this  loue  feeds  vpon  thee,     10 
I  fee  by  thy  cheekes,  and  drinkes  healthes  of  vermilion, 
teares  I  fee  by  thine  eyes. 

31  this]  the  W  Scsene  .    .    .   Onion.]   Scene  III.    Juniper 

is  discovered  in  his  shop,  singing.    Enter  Onion.   G  5  black 

coftly  W 


62  A  pieafant  Comedy,  called  [Act  4 

Oni.  I  confeffe  Cupids  caroufe,  he  plaies  fuper 
negulum  with  my  Hquor  of  Hfe 

luni.     Tut,  thou  art  a  goofe  to  be  Cupids  gull,  go     15 
to,   no   more   of   this   contemplations,   &   calculations, 
mourne  not,  for  Rachels  thine  owne 

Oni.  For  that  let  the  higher  powers  worker  but 
fweet  luniper,  I  am  not  fad  for  her,  and  yet  for  her  in 
a  fecond  perfon,  or  if  not  fo,  yet  in  a  third.  20 

luni.  How  fecond  perfon?  away,  away,  in  the  crot- 
chets already  Longitude  and  Latitude?  what  fecond? 
what  perfon?  ha? 

Oni.     luniper.  He  bewray  my  felfe  before  thee,  for 
thy  company  is  fweet  vnto  me,  but  I  muft  entreat  thy     25 
helping  hand  in  the  cafe. 

luni.  Tut?  no  more  of  this  furquedry;  I  am  thine 
owne?  ad  vngem  vpfie  freeze:  pell  mell,  come,  what 
cafe?  what  cafe? 

Oni.     For  the  cafe  it  may  be  any  mans  cafe,  afwell     30 
as  mine,  Rachel  I  meane,  but  He  medle  with  her  anon, 
in  the  meane  time,  Valentine  is  the  man  hath  wrongd 
me. 

luni.     How  ?  my  Ingle  wrong  thee,  ift  poffible  ? 

Oni.     Your  Ingle,  hang  him  infidell,  well  and  if  I  be     35 
not  reuengd  one  him  let  Peter  Onion  (by  the  infernall 
Gods)  be  turned  to  a  leeke  or  a  fcalion,  I  fpake  to  him 
for  a  ditty  for  this  handkerchier. 

luni.     Why,  has  he  not  done  it? 

Oni.     Done  it,  not  a  verfe  by  this  hand,  40 

luni.  O  in  diebus  illis,  O  prepofterous,  wel  come  be 
blith,  the  beft  inditer  of  the  al  is  fomtimes  dul,  fellow 
Onion,  pardon  mine  Ingle:  he  is  a  man,  has  impefec- 
tions  and  declinations,  as  other  men  haue,  his  maffe 
fomtimes  cannot  caruet  nor  prognifticat  and  come  of,     45 

16  this]  these  G  17  not.  Mi  20  not,  yet  fo  W 

21  in  thy  G  43  Onion  Mi  44  maffe]  muse  G 

45  curvet  W,  G 


Scene  6]  The  Cafe  is  Alterd  63 

as  it  Ihould,  no  matter,  lie  hammer  our  a  paraphrafe 
for  thee  my  felfe. 

Oni.     No  fweet  luniper,  no  danger  doth  breed  delay, 
loue  makes  me  chollericke,  I  can  beare  no  longer. 

luni.     Not  beare  ?  what  my  mad  Meridian  flaue  ?  not     50 
beare?  what? 

Oni.  Cupids  burden :  tis  to  heauy,  to  tollerable,  and 
as  for  the  handkerchire  and  the  pofie:  I  will  not 
trouble  thee:  but  if  thou  wilt  goe  with  me  into  her 
fathers  backfide,  old  laques  backfide,  and  fpeake  for  55 
me  to  Rachel,  I  wil  not  be  ingratitude,  the  old  man  is 
abroad  and  all. 

luni.     Art  thou  fure  on't. 

Oni.     As  fure  as  an  obligation. 

luni.     Lets  away  then,  come  we  fpend  time  in  a  vaine     60 
circumference,  trade  I  cafhire  thee  til  to  morrow,  fellow 
Onion  for  thy  fake  I  finifh  this  workiday. 

Oni.     God  a  mercy,  and  for  thy  fake  He  at  any  time 
make  a  holiday.  Exunt. 

[Scsene  6.] 

•    'Enter  Angelio,  Rachel. 

Ang.     Nay  I  prithee  Rachel,  I  come  to  comfort  thee, 
Be  not  fo  fad. 

Rach.     O  fignior  Angela, 
No  comfort  but  his  prefence  can  remoue. 
This  fadneffe  from  my  heart. 

Ang.     Nay  then  y'are  fond. 
And  want  that  ftrength  of  iudgement  and  election,  5 

That  fhould  be  attendent  on  your  yeares  and  forme, 

46  para  hrafe  Mi     52  heauy  B    56  will  B    56-7  ould  .   .   .  all,  B 
59  as  an]  an  W  61  circumference  B  Scsene  6.]  Scene  IV. 

The  Court-yard  at  the  back  of  Jaques'  House.    Enter,  etc.  G 
Enter  .    .    .  Rachel,  B  1  thee;    D,  M2  4  ye'  are  B 


64  A  pleafant  Comedy,  called  [Act  4 

Will  you,  becaufe  your  Lord  is  taken  prifoner, 

Blubber  and  weepe  and  keepe  a  peeuifh  ftirre, 

As  though  you  would  turne  turtle  with  the  newes, 

Come,  come,  be  wife.     Sblood  fay  your  Lord  fhould  die :     10 

And  you  goe  marre  your  face  as  you  begin, 

What  would  you  doe  trow?  who  would  care  for  you; 

But  this  it  is,  when  nature  will  beftow 

Her  gifts  on  fuch  as  know  not  how  to  vfe  them. 

You  fhall  haue  fome  that  had  they  but  one  quarter  15 

Of  your  faire  beauty?  they  would  make  it  fhew 

A  little  otherwife  then  you  do  this, 

Or  they  would  fee  the  painter  twice  an  hower. 

And  I  commend  them  I,  that  can  vfe  art, 

With  fuch  iudiciall  practife. 

Rack.     You  talke  iedly,  20 

If  this  be  your  beft  comfort  keepe  it  ftill. 
My  fences  cannot  feede  on  fuch  fower  cates. 

Ang.     And  why  fweet  heart. 

Rack.     Nay  leaue  good  fignior. 

Ang.     Come  I  haue  fweeter  vyands  yet  in  ftore. 


[Scsene  7.] 
'Enter  Onion  and  luniper. 

luni:    I  in  any  cafe  miftres  Rachel. 

Ang.     Rachelf 

Rack.     Gods  pitty  fignior  Angelo,  I  here  my  father, 
away  for  Gods  fake. 

Aw^;     S'bloud,  I  am  betwixt,  I  thinke,  this  is  twice      5 
now,  I  haue  been  ferued  thus.  Exit 

19  them  IB  20  practife,  B  23  leaue]  leau'  B 

Scaene  .    .    .  luniper.]   om.  G  i  Jun.  [within.]   G 

I  I]  om.  W  5  bewitch'd  W,  G 


Scene  7]  The  Cafe  is  Alter d  65 

Rack.     Pray  God  he  meet  him  not.  E^trif  Kechel. 

Oni.     O  braue  ?  fhe's  yonder,  O  terrible  fhee's  gone. 

luni.     Yea?  fo  nimble  in  your  Dilemma' s^  and  your 
Hiperhole's  Hay  my  loue?  O  my  loue,  at  the  firft  fight:     10 
By  the  maffe. 

Oni.  O  how  fhe  fkudded,  O  fweet  feud,  how  fhe 
tripped,  O  delicate  trip  and  goe. 

luni.  Come  thou  art  enamored  with  the  influence 
of  her  profundity,  but  firrah  harke  a  little.  15 

Oni.  O  rare,  what?  what?  paffing  I  faith,  what  ift? 
what  ift? 

luni.  What  wilt  thou  fay  now,  if  Rachel  ftand  now, 
and  play  hity  tity  through  the  keyhole,  to  behold  the 
equipage  of  thy  perfon :  20 

Oni:  O  fweet  equipage,  try  good  lumper,  tickle  her, 
talke,  talke,  O?  rare 

luni.  Miftris  Rachel  (watch  then  if  her  father 
come)  Rachel?  Madonaf  Rachel?  No. 

Oni.     Say  I  am  here,  Onion  or  Peter  or  fo.  25 

luni.  No,  He  knock,  weele  not  ftand  vpon  Horizons, 
and  tricks,  but  fall  roundly  to  the  matter. 

Oni.  Well  faid  fweet  luniper:  Horizons?  hang 
hem?  knock,  knock. 

Rach.     Whofe  there  ?  father.  30 

luni.  Father  no?  and  yet  a  father,  if  you  pleafe  to 
be  a  mother. 

Oni.  Well  faid  luniper,  to  her  againe,  a  fmack  or 
two  more  of  the  mother 

luni.    Do  you  here?  fweet  foule,  fweet  radamant?    35 
fweet   mathauell   one  word  Melpominef  are  you  at 
leafure. 

Rach.     At  leafure?  what  to  doe? 

7  not]  Enter  Onion  and  Juniper.  G  24  come)  [Goes  to  the 

door.]    G  29    [Juniper  knocks.   G  30  Rach.    [within.]    G 

31  you'll  W  36  Machavel?  G  38  Rach.  [within.]  G 


66  A  pleafant  Comedy,  called  [Act  4 

Juni.     To  doe  what,  to  doe  nothing,  but  to  be  Uable 
to  the  extafie  of  true  loues  exigent,  or  fo,  you  fmell    40 
my  meaning. 

Oni.     Smell,  filthy,  fellow  luniper  filthy?  fmell?  O 
moft  odious. 

luni.     How  filthy. 

Om.     Filthy,  by  this  finger  ?  fmell  ?  fmell  a  rat,  fmel    45 
a  pudding,  away  thefe  tricks  are  for  truls,  a  plaine 
wench  loues  plaine  dealing,  ile  vpon  my  felfe,  fmel  to 
march  paine  wench. 

luni.     With  all  my  heart,  lie  be  legitimate  and  filent 
as  an  apple-fquire,  lie  fee  nothing,  and  fay  nothing.         50 

Oni.     Sweet  hart,  fweet  hart? 

luni.     And  bag  pudding,  ha,  ha,  ha? 

lag.     What  Rachel  my  girle  what  Rachel;       Within 

Oni.     Gods  lid : 

lag.     What  Rachel,)  ^.^^^.^  55 

Rach.     Here  I  am   j 

Oni    What  rakehell  cals  Rachel:    O  treafon  to  my 
loue. 

luni.     Its   her   father   on  my  life,   how   fhall  wee 
entrench  and  edifie  our  felues  from  him?  60 

Om'.     O  conni-catching  Cupid.  'Enter  laques. 

lag.     How  in  my  back  fide  ?  where  ?  what  come  they 
for  ?  Onion  gets  vp  into  a  tree. 

Where  are  they?  Rachel?  theeues,  theeues? 
Stay  villaine  flaue :  Rachel?  vntye  my  dog : 
Nay  theife  thou  canft  not  fcape. 

Inni.     I  pray  you  fir.  65 

Om    A  pitifull  Onion,  that  thou  hadft  a  rope. 

log.     Why  Rachel:  when  I  fay:    let  loofe  my  dog? 
garlique  my  maftiue,  let  him  loofe  I  fay. 

47  upon  her  W,  G  47-8  to  a  G  64  flaue :  [Seizes  Jun.  as 

he  is  running  out.]  G  66,  70,  84,  93  Oni.  [above.]  G  66  A] 

Ah  W,  G 


Scene  7]  The  Cafe  is  Alterd  67 

limi.     For  Gods  fake  here  me  fpeake,  keepe  vp  your 
cur. 

Oni.     I  feare  not  garlique,  heele  not  bite  Onion  his     70 
kinfman  pray  God  he  come  out,  and  then  theile  not 
fmell  me. 

laq.     well  then  deliuer,  come  deliuer  flaue? 

luni.     What  fhould  I  deliuer? 

laq.     O  thou  wouldft  haue  me  tell  thee?  wouldft     75 
thou  fhew  me  thy  hands,  what  haft  thou  in  thy  hands  ? 

luni.     Here  be  my  hands. 

laq.  Stay  are  not  thy  fingers  ends  begrimd  with 
durt,  no  thou  haft  wipt  them. 

luni.     Wipt  them?  80 

laq.  I  thou  villaine?  thou  art  a  fubtile  knaue,  put 
off  thy  fhewes,  come  I  will  fee  them,  giue  me  a  knife 
here  'Rachel,  He  rip  the  foles. 

Om*.     No  matter  he's  a  cobler,  he  can  mend  them. 

luni.     What  are  you  mad  ?  are  you  deteftable,  would     85 
you  make  an  i\natomy  of  me,  thinke  you  I  am  not  true 
Ortographie  ? 

laq.     Ortographie,  Anatomy? 

luni.     For  Gods  fake  be  not  fo  inuiolable,  I  am  no 
ambufcado,  what  predicament  call  you  this,  why  do  you     90 
intimate  fo  much. 

laq.     I  can  feele  nothing. 

Oni.     Bir  Lady  but  Onion  feeles  fomething. 

laq.     Soft  fir,  you  are  not  yet  gon,  fhake  your  legs, 
come,  and  your  armes,  be  briefe,  ftay  let  me  fee  thefe     95 
drums,  thefe  kilderkins,  thefe  bombard  flops,  what  is 
it  crams  hem  fo. 

luni.     Nothing  but  haire. 

laq.     Thats  true,  I  had  almoft  forgot  this  rug,  this 
hedghogs   neft,   this   haymowe,   this   beares   fkin,   this  100 
heath,  this  firfbufh. 

71  kinfman,  B,  D,  Ms        78  are  not]  are  W,  G         79  dur,t  no  B 
94  not]  no  W  97  crams]  charms  W  loi  firfbufh;  B 

101   [Pulls  him  by  the  hair.  G 


68  A  pleafant  Comedy,  called  [Act  4 

luni.     O  let  me  goe,  you  teare  my  haire,  you  reluolue 
my  braines  and  vnderftanding. 

lag.     Heart,  thou  art  fomewhat  eas'd?  halfe  of  my 
feare 
Hath  tane  his  leaue  of  my,  the  other  halfe  105 

Still  keepes  poffeffion  in  difpight  of  hope, 
Vntill  thefe  amorous  eyes,  court  my  faire  gold: 
Deare  I  come  to  thee :    friend,  why  art  not  gone  ? 
Auoid  my  foules  vexation,  Sathan  hence  ? 
Why  doeft  thou  ftare  on  me,  why  doeft  thou  ftay?  no 

Why  por'ft  thou  on  the  ground  with  theeuifh  eyes? 
What  fee'ft  thou  there,  thou  curre  ?  what  gap'f t  thou  at  ? 
Hence  from  my  houfe,  Rachel,  fend  garlick  forth. 

lunip.     I  am  gone  fir,  I  am  gone,  for  Gods  fake 
ftay.  Exit  Juniper.   115 

laq.     Pack,  and   thanke   God  thou   fcap'ft  fo   well 
away. 

Oni.     If  I  fcape  this  tree,  deftinies,  I  defie  you. 

laq.     I  cannot  fee  by  any  Qiaracters 
Writ  on  this  earth,  that  any  fellon  foote 
Hath  tane  acquaintance  of  this  hallowed  ground.  120 

None  fees  me :  knees  do  homage  to  your  Lord. 
Tis  fafe,  tis  fafe,  it  lyes  and  fleepes  fo  foundly, 
Twould  do  one  good  to  looke  on't.     If  this  bliffe 
Be  giuen  to  any  man  that  hath  much  gold, 
luftly  to  fay  tis  fafe,  I  fay  tis  fafe.  125 

O  what  a  heauenly  round  thefe  two  words  dance 
Within  me  and  without  me:   Firft  I  thinke  hem, 
And  then  I  fpeake  hem,  then  I  watch  their  found, 
And  drinke  it  greedily  with  both  mine  eares, 
Then   thinke,   then   fpeake,   then   drinke   their   found 

againe,  130 

102  teare,  B  102  haire  B  102  reloulue  B    revolve  W,  G 

105  my]   me  W,  G  108  thee:    [Aside.]    G  108  Fiend,  G 

117,  134  Oni.  [above.]  G  120  ground,  B  121  [Kneels  down 

and  removes  the  dung  from  his  treasure.  G  129  eares,]  eyes :  IV 


Scene  7]  The  Cafe  is  Alterd  69 

And  racket  round  about  this  bodies  court. 
Thefe  two  fweet  words :   tis  fafe:  ftay  I  will  feed 
My  other  fences,  6  how  fweet  it  fmels: 

Oni.     I  mar'le  he  fmels  not  Onion,  being  fo  neere  it. 

laq.     Downe  to  thy  graue  againe,  thou  beauteous 
Ghoft,  135 

Angels  men  fay,  are  fpirits:    Spirits  be 
Inuifible,  bright  angels  are  you  fo  ? 
Be  you  inuifible  to  euery  eye. 
Saue  onely  thefe :   Sleepe,  He  not  breake  your  reft. 
Though  you  breake  mine :   Deare  Saints  adiew,  adiew :  140 
My  feete  part  from  you,  but  my  foule  dwels  with  you. 

Exit. 

Oni.  Is  he  gone?  6  Fortune  my  friend,  &  not  for- 
tune my  foe, 

I  come  downe  to  embrace  thee,  and  kiffe  thy  great 
toe.  'Enter  luniper.  145 

lunip.     Fellow  Onionf  Peter. 

Oni.     Fellow  luniper. 
What's  the  old  panurgo  gone?  departed,  cofmografied, 
ha? 

Oni.     O  I,  and  harke  Sirrah.     (Shall  I  tell  him?  no.  150 

lunip.  Nay,  be  briefe  and  declare,  ftand  not  vpon 
conodrums  now,  thou  knoweft  what  contagious  fpeeches 
I  haue  fufferd  for  thy  fake  and  he  fhould  come  againe 
and  inuent  me  here. 

Oni.  He  faies  true,  it  was  for  my  fake,  I  will  tell  155 
him.     Sirra  luniper?  and  yet  I  will  not. 

lunip.     What  fay  eft  thou  fweete  Onion? 

Oni.     And  thou  hadft  fmelt  the  fent  of  me  when  I 
was  in  the  tree,  thou  wouldeft  not  haue  faid  fo:    but 
Sirra,  The  cafe  is  alterd  with  me,  my  heart  has  giuen  160 
loue  a  box  of  the  eare,  made  him  kicke  vp  the  heeles  I 
faith. 

133  fences ;  B,  D,  [Takes  up  some  of  the  gold  and  smells  to  it.]  G 
133  fmels.  Mi,  M2  141  [Rises  and  exit.  G  145  [Comes  down 
from  the  tree.  G        148  Juni.  What's,  etc.  W,  G        161  his  heels,  W 


7©  A  pleafant  Comedy,  called  [Act  4 

lunip.  Sayeft  thou  me  fo,  mad  Greeke?  how  haps 
it?  how  chances  it. 

Oni.     I  cannot  hold  it,  lunip er,  haue  an  eye,  looke,  165 
haue  an  eye  to  the  doore,  the  old  prouerb's  true,  I  fee : 
gold  is  but  mucke.     Nay  Gods  fo  luniper  to  the  doore, 
an  eye  to  the  maine  chance,  here  you  flaue,  haue  an  eye. 

lunip.  O  inexorable !  6  infallible !  6  intricate  deuine, 
and  fuperficiall  fortune.  170 

Oni.  Nay,  it  will  be  fufificient  anon,  here,  looke 
heere. 

lunip.  O  infolent  good  lucke!  How  didft  thou 
produce  th'  intelligence  of  the  gold'  mynerals. 

Oni.     He    tell   you    that   anon,    heere,    make    fhift,  175 
conuey,  cramme. 

He  teach  you  how  you  fhall  call  for  garlike  againe  I 
faith. 

lunip.  S'bloud  what  fhall  we  do  with  all  this?  we 
fhall  nere  bring  it  to  a  confumption.  180 

Oni.  Confumption?  why  weele  bee  moft  fumptu- 
oufly  attir'd,  man. 

lunip.  By  this  gold,  I  will  haue  three  or  foure  moft 
ftigmaticall  fuites  prefently. 

Oni.     He  go  in  my  foot-cloth.  He  turne  Gentleman.  185 

lunip.     So  will  I. 

Oni.     But  what  badge  fhall  we  giue,  what  cullifon? 

lunip.  As  for  that  lets  vfe  the  infidelity  and  com- 
miferation  of  fome  harrot  of  armes,  he  fhall  giue  vs  a 
gudgeon.  190 

Oni.     A  gudgeon  ?  a  fcutheon  thou  wouldf t  fay,  man. 

lunip.     A  fcutcheon  or  a  gudgeon,  all  is  one. 

Oni.  Well,  our  armes  be  good  inough,  lets  looke  to 
our  legges. 

lunip.     Content,  weele  be  iogging.  195 

Oni.     Rachel?  we  retire :  garlike  God  boy  ye. 

168  chance,    [Removes  the  dung,  and  shews  him  the  gold.]    G 
175  you]  thee  W  191  gudgeon?]  gupgeon?  B 

196  Godb'ye  W    good  b'ye  G 


Scene  8]  The  Cafe  is  Alterd  71 

lunip.     Farewell  fweete  laques. 
Oni.     Farewell  fweete  Rachel,  fweet  dogge  adiew. 

'Exeunt. 


[Scsene  8.] 

Fnter  Maximilian,  Count  Fernese,  Kurelia,  Vhce- 
nixella,  Fache. 

Max.     Nay  but  fweet  Count. 

Count.     Away,  He  heare  no  more, 
Neuer  was  man  fo  palpably  abufd. 
My  fonne  fo  bafely  mar  ted ;  and  my  felf  e 
Am  made  the  fubiect  of  your  mirth  and  fcorne. 

Max.     Count  Ferneze  you  tread  to  hard  vpon  my      5 
patience, 
Do  not  perfift  I  aduife  your  Lordfhip. 

Count.     I  will  perfift,  and  vnto  thee  I  fpeake. 
Thou  Maximilian  thou  haft  iniur'd  me. 

M.ax.     Before  the  Lord: 

Aur.     Sweet  fignior. 

Phoe.     O  my  father.  lO 

Max.     Lady  let  your  father  thank  your  beauty, 

Fac.     By  gar  me  fhall  be  hang  for  tella  dis  fame, 
Me  tella  madamoyfelle,  fhe  tell  her  fadera. 

Count.     The  true  Chamount  fet  free,  and  one  left 
here 
Of  no  defcent,  clad  barely  in  his  name.  15 

Sirrah  boy  come  hither,  and  be  fure,  you  fpeake  the 
fimple  truth: 

Fac.     O  pardone  moy  mounfieur. 

Count    Come  leaue  your  pardons,  and  directly  fay. 
What  villaine  is  the  fame  that  hath  vfurpt,  20 

The  honor'd  name  and  perfon  of  Chamount: 

Scsene  8.]  Scene  V.    A  Room  in  count  Ferneze's  House.    Enter, 
etc.  G  16  fpaeke  B  19  fay,  B 


72  A  pleafant  Comedy,  called  [Act  4 

Pac.     O  Mounfieur,  no  point  villaine,  braue  Cheual- 
ier,  Mounfieur  Gafper. 

Count.     Monufieur   Gafper,   on  what  occafion   did 
they  change  their  names,  what  was  their  poHcy,  or  their     25 
pretext. 

Pac.     Me  canno  tell,  par  ma  foy  Mounfieur. 

Max.     My  honorable  Lord. 

Count.     Tut  tut,  be  filent. 

Max.     Silent?  Count  Yerneze,  I  tell  thee  if  Amurath 
the  great  Turke  were  here  I  would  fpeake,  and  he    30 
fhould  here  me. 

Count.     So  will  not  I. 

Max:    By  my  fathers  hand,  but  thou  fhalt  Count,  I 
fay  till  this  inftant,  I  was  neuer  toucht  in  my  reputa- 
tion :   here  me  you  fhall  knowe  that  you  haue  wrongd     35 
me,  and  I  wil  make  you  acknowledge  it,  if  I  cannot 
my  fword  fhall. 

Count.     By  heauen  I  will  not,  I  will  ftop  mine  eares. 
My  fences  loath  the  Sauiour  of  thy  breath. 
Tis  poyfon  to  me,  I  fay  I  will  not  heare.  40 

What  fhall  I  know,  tis  you  haue  iniurd  me, 
What  will  you  make?  make  me  acknowledge  it. 
Fetch  forth  that  Gafper,  that  lewd  counterfeit. 

Rnter  feruing  with  Camilla. 
He  make  him  to  your  face  approue  your  wrongs. 
Come  on  falfe  fubftance,  fhadow  to  Chamont:  45 

Had  you  none  elfe  to  worke  vpon  but  me. 
Was  I  your  fitteft  proiect?  well  confeffe. 
What  you  intended  by  this  fecret  plot. 
And  by  whofe  policy  it  was  contriu'd, 
Speake  truth,  and  be  intreated  courteoufly,  50 

But  double  with  me,  and  refolue  to  proue 

27  ccanno  B  28  Lord,  B  39  loath]    lotah  B 

Enter  .    .    .   Camillo.\  Enter  Servants  with  Camillo.  G 
45  fubftance :  B  45  Chamont,  B 


Scene  8]  The  Cafe  is  Alterd  73 

The  extremeft  rigor  that  I  can  inflict. 

Cam.     My  honor'd  Lord,  heare  me  with  patience, 
Nor  hope  of  fauour,  nor  the  feare  of  torment, 
Shall  fway  my  tongue,  from  vttring  of  a  truth.  55 

Count.     Tis  well,  proceed  then. 

Cam.     The  morne  before  this  battell  did  begin, 
Wherein  my  Lord  Chamount  and  I  were  tane. 
We  vow'd  one  mutuall  fortune,  good  or  bad. 
That  day  fhould  be  imbraced  of  vs  both,  60 

And  vrging  that  might  worft  fucceede  our  vow, 
We  there  concluded  to  exchange  our  names. 

Count.     Then  Maximilian  tooke  you  for  Chamount. 

Cam.     True  noble  Lord. 

Count:    Tis  falfe,  ignoble  wretch, 
Twas  but  a  complot  to  betray  my  fonne.  65 

Max.     Count,  thou  lyeft  in  thy  bofome,  Count: 

Count:    Lye  ? 

Cam.     Nay  I  befeech  you  honor'd  gentlemen, 
Let  not  the  vntimely  ruine  of  your  loue. 
Follow  thefe  fleight  occurents ;  be  affured  70 

Chamounts  returne  will  heale  thefe  wounds  againe. 
And  breake  the  points  of  your  too  piercing  thoughts. 

Count.     Returne?    I    when?    when   will    Chamount 
returne  ? 
Heele  come  to  fetch  you,  will  he  ?  I  tis  like, 
Youl'd  haue  me  thinke  fo,  that's  your  policy.  75 

No,  no,  yong  gallant,  your  deuice  is  ftale, 
You  cannot  feed  me  with  fo  vaine  a  hope. 

Cam.     My  Lord,  I  f  cede  you  not  with  a  vaine  hope, 
I  know  affuredly  he  will  returne, 
And  bring  your  noble  fonne  along  with  him.  80 

Max.     I,  I  dare  pawne  my  foule  he  will  returne. 

Count.     O  impudent  dirifion?  open  fcorne? 
Intollerable  wrong  ?  is't  not  inough  ? 

55  of  truth.  W,  G  61  worse  W,  G 


74  A  pleafant  Comedy,  called  [Act  5 

That  you  haue  plaid  vpon  me  all  this  while ; 

But  ftill  to  mocke  me,  ftill  to  ieft  at  me?  85 

Fellowes,  away  with  him,  thou  ill-bred  flaue, 

That  fets  no  difference  twixt  a  noble  fpirit, 

And  thy  owne  flauifh  humour,  do  not  thinke 

But  ile  take  worthy  vengeance  on  thee,  wretch? 

Cam.     Alas,  thefe  threats  are  idle,  like  the  wind,        90 
And  breed  no  terror  in  a  guiltleffe  mind. 

Count.     Nay,  thou  fhalt  want  no  torture,  fo  refolue, 
bring  him  away. 

Cam.     Welcome  the  worft,  I  fuffer  for  a  friend, 
Your  tortures  will,  my  loue  fhall  neuer  end.     Exeunt.     95 
Manent  Maximillian,  Aurelia,  Phcenixella,  Pacue. 

Phoen.     Alas  poore  gentleman,  my  fathers  rage 
Is  too  extreame,  too  fterne  and  violent ! 
O  that  I  knew  with  all  my  ftrongeft  powers. 
How  to  remoue  it  from  thy  patient  breaft, 
But  that  I  cannot,  yet  my  willing  heart,  100 

Shall  minifter  in  fpight  of  tyranny 
To  thy  miffortune,  fomething  there  is  in  him, 
That  doth  enforce  this  ftrange  affection. 
With  more  then  common  rapture  in  my  breaft: 
For  being  but  Gafper,  he  is  ftill  as  deare  105 

To  me,  as  when  he  did  Chamount  appeare. 

Exit  Phcenixella. 

Aure.     But  in  good  fadneffe  Signior,  do  you  thinke 
Chamount  will  returne? 

Max.     Do  I  fee  your  face,  Lady? 

Aure.     I  fure,  if  loue  haue  not  blinded  you.  no 

Max.     That  is  a  queftion,  but  I  will  affure  you  no,  I 
can  fee,  and  yet  loue  is  in  mine  eye:   well,  the  Count 

91   in  the   W  93    [Exit.   G  95    [Exeunt  Servants  with 

Camillo  and  Pacue.  G  Manent   .    .    .   Pacue.}   om.  G 

103  this]  the  W  106  [Aside  and  exit.  G  108  will  e'er  W 

no  haue]  has  W 


Scene  i]  The  Cafe  is  Alter d  75 

your  father  fimply  hath  difhonor'd  me :   and  this  fteele 

fhall  engraue  it  on  his  burgonet. 

Aure.     Nay,  fweet  Signior.  115 

Max.     Lady,  I  do  pref erre  my  reputation  to  my  life. 

But  you  fhall  rule  me,  come  lets  march. 

Exit  Maximillian. 
Aure.     He  follow  Signior,  6  fweet  Queene  of  loue ! 

Soueraigne  of  all  my  thoughts,  and  thou  faire  fortune. 

Who  (more  to  honour  my  affections)  120 

Haft  thus  tranflated  Gafper  to  Chamount. 

Let  both  your  flames  now  burne  in  one  bright  fpeare ; 

And  giue  true  light  to  my  afpiring  hopes, 

Haften  Chamounts  returne,  let  him  affect  me. 

Though  father,  friends,  and  all  the  world  reiect  me.       125 

Exit. 

[Act  5.     Scaene  i.] 

Enter  Angela,  Chriftopher. 

Ange.     Sigh  for  a  woman,  would  I  fould  mine  armes, 
Raue  in  my  fleepe,  talke  idly  being  awake. 
Pine  and  looke  pale,  make  loue-walkes  in  the  night, 
To  fteale  cold  comfort  from  a  day-ftarres  eyes. 
Kit,  thou  art  a  foole,  wilt  thou  be  wife?  then  lad  5 

Renounce  this  boy-gods  nice  idolatry, 
Stand  not  on  complement,  and  wooing  trickes, 
Thou  loueft  old  laques  daughter,  doeft  thou  ? 

Chrif.     Loue  her? 

Ange.     Come,  come,  I  know't,  be  rul'd  and  fhees     * 
thine  owne, 
Thou't  fay  her  father  laques,  the  old  begger,  lO 

Hath  pawnd  his  word  to  thee,  that  none  but  thou, 
Shalt  be  his  fonne  in  law. 

Chrif.     He  has. 

122  sphere,  W,  G  Act  V.    Scene  I.    The  Court  at  the  back 

of  Jaques'  House.    Enter,  etc.  G  7  wooing]   coying  G 


76  A  pleafant  Comedy,  called  [Act  5 

Ange.     He  has  ?  wilt  thou  beleeue  him,  and  be  made 
a  kooke,  15 

To  waite  on  fuch  an  antique  wethercocke ; 
Why  he  is  more  inconftant  then  the  fea, 
His  thoughts,  Camele on-like,  change  euery  minute: 
No  Kit,  worke  foundly,  fteale  the  wench  away, 
Wed  her,  and  bed  her,  and  when  that  is  done,  20 

Then  fay  to  laques,  fhall  I  be  your  fonne? 
But  come  to  our  deuife,  where  is  this  gold? 

Chrif.     Heere  Signior  Angelo. 

Ange.     Beftow  it,  bid  thy  hands  fhed  golden  drops, 
Let  thefe  bald  f rench  crownes  be  vncouered,  25 

In  open  fight,  to  do  obeyfance 
To  laques  ftaring  eyes  when  he  fteps  forth, 
The  needy  beggar  will  be  glad  of  gold. 
So,  now  keepe  thou  aloof  e,  and  as  he  treades 
This  guilded  path,  ftretch  out  his  ambling  hopes,  30 

With   fcattring  more   &  more,   &  as   thou   go'ft,   cry 
laques,  laques 

Chrif.     Tufh,  let  me  alone. 

Ang.     Firft  ile  play  the  ghoft.  He  cal  him  out.  Kit 
keep  aloofe.  35 

Chrif.     But  Signior  Angelo.     Where  wil  your  felfe 
and  Kachel  ftay  for  me,  after  the  ieft  is  ended? 

Ange.     Maffe,  that's  true,  at  the  old  Priory  behinde 
S.  Foyes. 

Chrif.     Agreed,  no  better  place,  ile  meete  you  there.     40 

Ange.     Do  good  f  oole,  do,  but  ile  not  meet  you  there. 
Now  to  this  geere,  laques,  laques,  what  laques f 
{ within  }    laq.    Who  cals  ?  whofe  there  ?    Ange.  laques. 
{ within  I     laq.    Who  cals  ? 

Ange.     Steward,  he  comes,  he  comes  laques.  45 

15  kooke,]  cokes,  G    cook,  W           17  Why]  While  W 

27  fteps]  fets  W             29  thou]  them  W  34  But  first  W,  G 

40  [Retires,  dropping  the  gold.  G           41  Do  .  .   .  there.]  om.  W 
45  [Retires.  G 


Scene  i]  The  Cafe  is  Alterd  77 

'Enter  laqiies. 

laq.     What  voice  is  this?  no  body  here,  was  I  not 
cald?  I  was. 

And  one  cride  laques  with  a  hollow  voyce, 
I  was  deceiu'd,  no  I  was  not  deceiu'd, 

See  fee,  it  was  an  Angell  cald  me  forth,  50 

Gold,  gold,  man-making  gold,  another  ftarre. 
Drop  they  from  heauen,  no,  no,  my  houfe  I  hope 
Is  haunted  with  a  Fairy.     My  deere  Lar, 
My  houfhold  God,  My  Fairy  on  my  knees. 

Chrift.     laques.  Exit  Chriftophero.     55 

laq.     My  Lar  doth  call  me,  6  fweet  voyce, 
Muficall  as  the  fpheares,  fee,  fee,  more  gold, 
{within  }     Chrif.     laques.  Enter  Rachel. 

laq.     What  Rachel,  Rachel,  lock  my  doore,  looke  to 
my  houfe.  60 

{ within  }     Chrif.     laques. 

laq.     Shut  faft  my  doore,  a  golden  crowne,  laques 
fhall  be  a  king.  Exit. 

Ange.     To  a  fooles  paradice  that  path  will  bring 
Thee  and  thy  houfhold  Lar.  65 

Rach.     What    means    my    father,    I    wonder    what 
ftrange  humor. 

Ange.     Come  fweete  foule,  leaue  wondring,  ftart  not, 
twas  I  laid  this  plot  to  get  thy  father  forth. 

Rach.     O  Angela.  70 

Ange.     O  me  no  oo's,  but  heare,  my  Lord  your  loue, 
Paulo  Ferneze  is  returnd  from  warre. 
Lingers  at  Font  Valeria,  and  from  thence 
By  poft  at  midnight  laft,  I  was  coniur'd 
To  man  you  thither,  ftand  not  on  replies,  75 

A  horfe  is  fadled  for  you,  will  you  go. 
And  I  am  for  you,  if  you  will  ftay,  why  fo. 

49  [Sees  the  gold.  G  55  Chris,  [within.]  G 

63  [Exit,  following  the  sound,  and  picking  up  the  gold.  G 

64  Ang.  [Comes  forward.]  G  69  thy]  your  W 


78  A  pleafant  Comedy,  called  [Act  s 

"Rach.     O   Angela,   each   minute   is   a  day  till  my 
Ferneze  come,  come  weele  away  fir. 

Knge.     Sweet  foule  I   gueffe  thy  meaning  by  thy 
lookes,  80 

At  pont  Valeria  thou  thy  loue  fhalt  fee, 
But  not  Ferneze,  Steward  fare  you  well. 
You  wait  for  Kachel  to,  when  can  you  tell  ? 

'Exeunt.     Enter  laq. 

laq.     O  in  what  golden  circle  haue  I  dan'ft? 
Millaine  thefe  od'rous  and  enfloured  fields  85 

Are  none  of  thine,  no  heres  Elizium, 
Heere  bleffed  ghofts  do  walke,  this  is  the  Court 
And  glorious  palace  where  the  God  of  gold 
Shines  like  the  fonne,  of  fparkling  maiefty  ; 

0  faire  fethered,  my  red-brefted  birds,  90 
Come  flye  with  me,  ile  bring  you  to  a  quier, 

Whofe  confort  being  fweetned  with  your  found : 
The  mufique  will  be  fuller,  and  each  hower 
Thefe  eares  fhall  banquet  with  your  harmony  6,  6,  6, 

Enter  Chrift. 

[Scaene  2.] 

Chrif.     At  the  old  priorie,  behind  Saint  Foyes, 
That  was  the  place  of  our  appointment  fure: 

1  hope  he  will  not  make  me  loofe  my  gold, 

And  mock  me  to,  perhaps  they  are  within :   Ile  knock. 
laq.     O  God,  the  cafe  is  alterd.  5 

Chrift.     'Rachel?    Angela f  Signior  Angela? 
laq.     Angels?    I  where?  mine  Angels?  wher's  my 
gold? 

Why  Rachel?  O  thou  theeuifh  Canibal, 

Thou  eateft  my  ilefh  in  ftealing  of  my  gold. 

79  fir.]   otn.  G  79  [Exit.  G  83  Exeunt.  [Exit  hastily.  G 

83  Enter  laq.]  Re-enter  Jaques  with  his  hands  full  of  money.  G 
90  0]0  my  H^    0[my]  G  94  The  ears  W,  G  94  [Exit.  G 

5  Jag.  [within.]  G  6  Re-enter  Jaqxjes.  G 


Scene  3]  The  Cafe  is  Alterd  79 

Chrif.     What  gold? 

lag.     What  gold?     Rachel  call  help,  come  forth,         10 
He  rip  thine  entrailes,  but  ile  haue  my  gold : 
Rachel  why  comes  thou  not  ?  I  am  vndone, 
Ay  me  fhe  fpeakes  not,  thou  haft  flaine  my  child.     Kxit 

Chrif.     What  is  the  man  poffeft  trow  ?  this  is  ftrange, 
Rachel  I  fee  is  gone  with  Angela:  15 

Well  ile  once  againe  vnto  the  priory. 
And  fee  if  I  can  meete  them.  Exit  Chriftopher, 

laq,     Tis  too  true,  Knter  laques. 

Th'aft  made  away  my  child,  how  haft  my  gold : 

0  what  Hienna  cald  me  out  of  dores. 

The  theife  is  gone:   my  gold's  gone,  Rachels  gone,  20 

Al's  gone?  faue  I  that  fpend  my  cries  in  vaine. 

But  ile  hence  too,  and  die  or  end  this  paine.        Exit. 

[Scaene  3.] 

Enter  luniper,  Onion,  Finio,  Valentine. 

luni.     Swonds,  let  me  goe,  hay  catfo,  catch  him  aliue, 

1  call,  I  call,  boy.     I  come,  I  come  fweetheart: 

Oni.     Page  hold  my  rapier,  while  I  hold  my  freind 
here. 

Valen.     O  heer's  a  fweet  metamorphofis,  a  cupple  of      5 
buzzards  turn'd  to  a  paire  of  peacocks. 

luni.     Signior  Onion,  lend  me  thy  boy  to  vnhang  my 
rapier : 

On.     Signior  luniper  for  once  or  fo,  but  troth  is, 
you  muft  inueigle,  as  I  haue  done,  my  Lords  page  here     10 
a  poor  folower  of  mine. 

Juni.     Hei  ho,  your  page  then  fha'not  be  fuper  inten- 
dent  vpon  me?  he  fhall  not  be  addicted?  he  fhall  not 

16  into  W  18  how]  thou  W,  G  Scsene  .   .  .  Valentine.] 

Scene  II.  The  Street  before  count  Ferneze's  House.  Enter 
Juniper  and  Onion  richly  dressed,  and  drunk,  followed  by  Finio 
and  Valentine.  G  12  cannot  IV 


So  A  pleafant  Comedy,  called  [Act  5 

be  incident?  he  fhall  not  be  incident?  he  fhall  not  be 
incident,  fhall  he?  He  foynes     15 

Fin.     O  fweet  fignior  lumper. 

luni.  Sbloud  ftand  away  princocks  ?  do  not  aggrau- 
ate  my  ioy. 

Valen.     Nay  good  Maifter.  Onion. 

Oni.     Nay  and  he  haue  the  heart  to  draw  my  bloud,    20 
let  him  come. 

luni.     He  flice  you  Onion,  He  flice  you? 

Oni.     He  cleaue  you  luniper. 

Valen.     Why  hold,  hold,  hough  ?  what  do  you  meane  ? 

luni.     Let  him  come  Ingle,  ftand  by  boy,  his  alle-     25 
bafter  blad  cannot  feare  me. 

Fm.  Why  heare  you  fweet  fignior,  let  not  there  be 
any  contetion,  betweene  my  Maifter  &  you,  about  me, 
if  you  want  a  page  fir,  I  can  helpe  you  to  a  proper 
(tripling.  30 

luni.  Canft  thou?  what  parentage?  what  anceftry? 
what  genealogy  is  he? 

Fiw,     A  french  boy  fir. 

luni.     Has  he  his  French  linguift  ?  has  he  ?     Fin.     I, 

fir.  35 

luni.     Then  transport  him :  her's  a  crufado  for  thee. 

Oni.  You  will  not,  imbecell  my  feruant  with  your 
beneuolence  will  you,  hold  boy  their's  a  portmantu  for 
thee. 

Yin.     Lord  fir.  40 

On.  Do  take  it  boy,  its  three  pounds  ten  fhill.  a 
portmantu. 

Fm.     I  thanke  your  Lordfhip.  Exit  Yinio. 

luni.  Sirrah  Ningle:  thou  art  a  traueller,  and  I 
honour  thee.  45 

I  prithee  difcourfe?  cherifh  thy  mufe?  difcourfe? 

Valen.     Of  what  fir? 

IS  [He  foins  with  his  rapier.  G 


Scene  3]  The  Cafe  is  Alterd  81 

luni.     Of  what  thou  wilt.  Sbloud?  hang  forrow? 

Oni.     Prithy  Valentine  affoile  me  one  thing, 

Valen.     Tis  pitty  to  foile  you  fir,  your  new  apparell.     50 

On.  Maffe  thou  faift  true,  aparel  makes  a  man 
forget  himfelf , 

lun.     Begin,  find  your  tongue  Ningle. 

Vol.     Now  will  gull  thefe  ganders  rarely: 
Gentlemen  hauing  in  my  peregrinatid  through  Mefo-     55 
potamia, 

lun.  Speake  legibly,  this  gam's  gone,  without  the 
great  mercy  of  God, 

Heres  a  fine  tragedy  indeed.     Thers  a  Keifars  royall. 
By  Gods  lid,  nor  King  nor  Keifar  fhall?  60 

'Enter  Finio,  Pacue,  Bait.  Martino. 

Bait.     Where?  where?  Finio,  where  be  they: 

lun.     Go  to,  ile  be  with  you  anon. 

Oni.     O  her's  the  page  fignior  luniper: 

lun.     What  fayth  monfieur  Onion,  boy. 

Fin:    What  fay  you  fir.  luni.     Tread  out  boy.    65 

Fin:     Take  vp,  you  meane  fir. 

lun.  Tread  out  I  fay,  fo,  I  thanke  you,  is  this  the 
boy. 

Pac.     Aue  mounfieur. 

luni.     Who  gaue  you  that  name  ?  70 

Pac.     Giue  me  de  name,  vat  name: 

Oni.  He  thought  your  name  had  been,  we  yong 
gentlemen,  you  muft  do  more  then  his  legges  can  do 
for  him,  beare  with  him  fir. 

luni.     Sirrah   giue  me  inftance  of  your   carriage?     75 
youle  ferue  my  turne,  will  you? 

Pac.     What?  turne  vpon  the  toe. 

Fin.     O  fignior  no. 

luni.  Page  will  you  follow  me,  ile  giue  you  good 
exhibition.  80 

54  will]  will  I  W.  G  58  God,]  om.  G  60  'slid  G 


82  A  plea f ant  Comedy,  called  [Act  5 

Vac.  By  gar,  fhal  not  alone  follow  you,  but  fhal 
leade  you  to. 

Oni.  Plaguie  boy,  he  fooths  his  humour?  thefe 
french  villaines  ha  pockie  wits. 

luni.     Here?  difarme  me?  take  my  femitary.  85 

Valen.  O  rare,  this  would  be  a  rare  man,  and  he 
had  a  little  trauell,  Balthafar,  Martina,  put  off  your 
fhooes,  and  bid  him  coble  them. 

luni.     Freinds,  friends,  but  pardon  me  for  fellows, 
no  more  in  occupation,  no  more  in  corporation,  tis  fo     90 
pardon  me,  the  cafe  is  alterd,  this  is  law,  but  ile  ftand 
to  nothing. 

Pac.     Fat  fo  me  tinke. 

luni.  Well  then  God  faue  the  dukes  Maiefty,  is  this 
any  harme  now  ?  fpeake,  is  this  any  harme  now.  95 

Oni.     No  nor  good  neither,  Sbloud? 

luni.  Do  you  laugh  at  me  ?  do  you  laugh  at  me  ?  do 
you  laugh  at  me?  Valen.     I  fir,  we  do. 

lunip.     You  do  indeed?  Valen.     I  indeed  fir. 

luni.     Tis  fufficient,  Page  carry  my  purfe,  dog  me?  100 

Kxit. 

Oni.  Gentlemen  leaue  him  not,  you  fee  in  what  cafe 
he  is,  he  is  not  in  aduerfity,  his  purfe  is  full  of  money, 
leaue  him  not?  'Exeunt 

[Scaene  4.] 
Enter  Angela  with  Rachel. 

Ang.     Nay  gentle  Rachel f 

Rach.     Away  ?  f orbeare  ?  vngentle  Angela, 
Touch  not  my  body,  with  thofe  impious  hands, 
That  like  hot  Irons  feare  my  trembling  heart, 
And  make  it  hiffe,  at  your  difloyalty.  5 

Scaene   .    .    .    Rachel.]     Scene  III.     The   open  Country.    Enter, 
etc.    G  5   Enter    Paulo   Ferneze   and    Chamont   at   a    dis- 

tance. G 


Scene  4]  The  Cafe  is  Alterd  83 

Enter  Chamount    Paulo  Ferneze. 
Was  this  your  drift?  to  vfe  Yernezes  name? 
Was  he  your  fitteft  ftale,  6  wild  difhonor !     Vau.     Stay 
noble  fir. 

Ange.     Sbloud  how  like  a  puppet  do  you  talke  now  ? 
Difhonor?  what  difhonor?  come,  come,  foole,  10 

Nay  th^n  I  fee  y'are  peeuifh.     S'heart  difhonor  ? 
To  haue  you  a  to  prieft  and  marry  you, 
And  put  you  in  an  honorable  ftate, 

Roc^.     To  marry  me  ?  6  heauen,  can  it  be  ? 
That  men  fhould  Hue  with  fuch  vnfeeling  foules,  15 

Without  or  touch  or  confcience  of  religion. 
Or  that  their  warping  appetites  fhould  fpoile 
Thofe  honor'd  formes,  that  the  true  feale  of  friendfhip 
Had  fet  vpon  their  faces. 

Ange:    Do  you  heare  ?  what  needs  all  this  ?  fay,  will     20 
you  haue  me,  or  no? 

Kach.     Il'e  haue  you  gone,  and  leaue  me,  if  you 
would. 

Ange.     Leaue  you  ?  I  was  accurft  to  bring  you  hither, 
And  make  fo  f aire  an  offer  to  a  foole. 

A  pox  vpon  you,  why  fhould  you  be  coy,  25 

What  good  thing  haue  you  in  you  to  be  proud  of  ? 
Are  y'any  other  then  a  beggars  daughter? 
Becaufe  you  haue  beauty.     O  Gods  light  a  blaft. 

Pau.     I  Angela. 

Ange.     You  fcornefuU  baggage,  I  lou'd  thee  not  fo     30 
much,  but  now  I  hate  thee. 

Rac/f.     Vpon   my   knees,   you   heauenly   powers,    I 
thanke  you, 
That  thus  haue  tam'd  his  wild  affections. 

Ange.     This  will  not  do,  I  muft  to  her  againe, 
Rachel,  6  that  thou  fawft  my  heart,  or  didft  behold,  35 

7  wild]  vile  G  8  [Holding  back  Chamont.  G  12  to  a 

W,  G  18   fcale   W  34    {Aside.   G 


84  A  pleafant  Comedy,  called  [Act  5 

The  place  from  whence  that  fcalding  figh  euented. 
Kachel,  by  lefu  I  loue  thee  as  my  foule,  Rachel,  fweet 
Rachel. 

Rach.     What  againe  retumd  vnto  this  violent  paffion. 

Ange.     Do  but  heare  me,  by  heauen   I   loue  you    40 
Rachel. 

Rach.     Pray  f  orbeare,  6  that  my  Lord  Ferneze  were 
but  here : 

Ange.     Sbloud  and  he  were,  what  would  he  do. 

Paw.     This  would  he  do  bafe  villaine:     Rach.     My 
deere  Lord,  45 

Tau.     Thou  monfter,  euen  the  foule  of  trechery! 
O  what  difhonord  title  of  reproch. 
May  my  tongue  fpit  in  thy  def erued  face  ? 
Me  thinkes  my  very  prefence  fhould  inuert. 
The  fteeled  organs  of  those  traytrous  eyes,  50 

To  take  into  thy  heart,  and  pierce  it  through : 
Turn'ft  thou  them  on  the  ground?  wretch,  dig  a  graue, 
With  their  fharp  points,  to  hide  th'  abhorred  head; 
Sweet  loue,  thy  wrongs  haue  beene  too  violent 
Since  my  departure  from  thee,  I  perceiue :  55 

But  now  true  comfort  fhall  againe  appeare, 
And  like  an  armed  angell  guard  thee  faf e 
From  all  th'  affaults  of  couered  villany. 
Come  Mounfieur,  let's  go,  &  leaue  this  wretch  to  his 
defpaire.  60 

Ange.     My  noble  Ferneze. 

Pau.     What  canft  thou  fpeake  to  me,  and  not  thy 
tongue, 
Forc't  with  the  torment  of  thy  guilty  foule 
Breake  that  infected  circle  of  thy  mouth, 
Like  the  rude  clapper  of  a  crazed  bell.  65 

I,  that  in  thy  bofome  lodg'd  my  foule, 

45  Pau.  [Rushes  forward.]  G  45  villaine :  [Flings  him  off.  G 

45  Lord,  [Runs  into  his  arms.  G  53  th']  thy  W,  G 

61   [lord!]  Ferneze!  G  66  I,  [I]   G 


Scene  5]  The  Cafe  is  Alterd  85 

With  all  her  traine  of  fecrets,  thinking  them 

To  be  as  fafe,  and  richly  entertained, 

As  in  a  Princes  court,  or  tower  of  ftrength. 

And  thou  to  proue  a  traitor  to  my  truft,  70 

And  bafely  to  expofe  it,  6  this  world ! 

Ange.     My  honorable  Lord. 

Pau.     The  very  owle,  who  other  birds  do  ftare  & 
wonder  at. 

Shall  hoot  at  thee,  and  fnakes  in  euery  bufh  75 

Shall  deafe  thine  eares  with  their — 

Cha.     Nay    good   my    Lord,    giue    end    vnto    your 
paffions. 

Ange.     You    fhall    fee,    I    will    redeeme    your    loft 
opinion.  80 

Rack.     My  Lord  beleeue  him. 

Cha.     Come,  be  farisfied,  fweet  Lord  you  know  our 
hafte. 

Let  vs  to  horfe,  the  time  for  my  engaged  returne  is  paft ; 
Be  friends  againe,  take  him  along  with  you.  85 

Pau.     Come  fignior  Angela,  hereafter  proue  more 
true.  Exeunt. 

[Scaene  5.] 

'Enter  Count  Fernese,  Maximillian,  Francefco. 

Count.     Tut  Maximillian,  for  your  honor'd  felfe, 
I  am  perfwaded,  but  no  words  fhall  turne 
The  edge  of  purpofd  vengeance  on  that  wretch, 
Come,  bring  him  forth  to  execution. 

Enter  Camillo  bound,  zvith  feruants 
He  hang  him  for  my  fonne,  he  fhall  not  fcape,  5 

Had  he  an  hundred  Hues :  Tell  me  vile  flaue, 
Thinkeft  thou  I  loue  my  fonne?  is  he  my  flefh? 

86  fignior]   om.  G  Scaene   .    .    .  Francefco.]   Scene  IV.    A 

Room  in  count  Ferneze's  House.    Enter,  etc.  G 


86  A  pleafant  Comedy,  called  [Act  5 

Is  he  my  bloud,  my  life?  and  fhall  all  thefe  be  torturd 
for  thy  fake,  and  not  reueng'd?  truffe  vp  the 
villaine.  10 

Max.     My  Lord,  there  is  no  law  to  confirme  this 
action. 

Tis  difhonorable.  Count.  Difhonorable  ?  Maximillianf 
It  is  difhonorable  in  Chamount,  the  day  of  his  prefixt 
returne  is  paft,  and  he  fhall  pay  fort.  15 

Cam.     My  Lord,  my  Lord, 
Vfe  your  extreameft  vengeance,  ile  be  glad 
To  fuffer  ten  time  more,  for  fuch  a  friend. 

Count.     O  refolute  and  peremptory  wretch ! 

Fran.     My  honored  Lord,  let  vs  intreat  a  word.  20 

Count.     lie  heare  no  more,  I  fay  he  fhall  not  Hue, 
My  felfe  will  do  it.     Stay,  what  forme  is  this 
Stands  betwixt  him  and  me,  and  holds  my  hand. 
What  miracle  is  this  ?  tis  my  owne  fancy, 
Carues  this  impreffion  in  me,  my  fof t  nature,  25 

That  euer  hath  retaind  fuch  foolifh  pitty, 
Of  the  moft  abiect  creatures  mifery. 
That  it  abhorres  it,  what  a  child  am  I 
To  haue  a  child?     Ay  me,  my  fon,  my  fon. 

Knter  Chriftophero. 

Chrif.     O  my  deere  loue,  what  is  become  of  thee  ?        30 
What  vniuft  abfence  layeft  thou  on  my  breft. 
Like  waights  of  lead,  when  fwords  are  at  my  backe. 
That  run  me  through  with  thy  vnkind  flight. 
My  gentle  difpofition  waxeth  wild, 
I  fhall  rim  frantike,  6  my  loue,  my  loue.     Knter  laques.     35 

laq.     My   gold,   my   gold,   my   life,   my   foule,   my 
heauen, 
What  is  become  of  thee  ?  fee,  ile  impart 
My  miferable  loffe  to  my  good  Lord, 
Let  me  haue  fearch  my  Lord,  my  gold  is  gone. 

29  Ay]  ah  W,  G  29  [Weeps  and  walks  aside.  G 


Scene  5]  The  Cafe  is  Alter d  87 

Count.     My  fonne,  Chriftophero,  thinkft  it  poffible,     40 
I  euer  fhall  behold  his  face  againe. 

Chrif.     O  father  wher's  my  loue,  were  you  fo  care- 
leffe 
To  let  an  vnthrift  fteale  away  your  child. 

log.     I  know  your  Lordfhip  may  find  out  my  gold, 
For  Gods  fake  pitty  me,  iuftice,  fweet  Lord.  45 

Count    Now  they  haue  yong  Chamount?  Chrifto- 
phero? 
Surely  they  neuer  will  reftore  my  fonne. 

Chrif.     Who  would  haue  thought  you  could  haue 
beene  fo  careleffe  to  loofe  your  onely  daughter. 

laq.     Who  would  thinke,  50 

That  looking  to  my  gold  with  fuch  hares  eyes, 
That  euer  open,  I  euen  when  thy  fleepe, 
I  thus  fhould  loofe  my  gold,  my  noble  Lord,  what  faies 
your  Lordfhip?     Count.     O  my  fonne,  my  fonne. 

Chrif.     My  deereft  Rachel f       laq.     My  moft  hony 
gold.  55 

Count.     Heare  me  Chriftophero. 

Chrif.     Nay  heare  me  laques. 

laq.     Heare  me  moft  honor'd  Lord. 

Max.     What  rule  is  here? 

Count.     O  God  that  we  fhould  let  Chamount  efcape. 

Enter  Aurelia,  Phoenixella. 

Chrif.     I  and  that  Rachel,  fuch  a  vertuous  mayd, 
fhould  be  thus  ftolne  away.  60 

laq.     And   that  my   gold,   being   fo   hid   in   earth, 
fhould  bee  found  out. 

yiax.     O  confufion  of  languages,  &  yet  no  tower 
of  Bahel! 

Fran.     Ladies,  befhrew  me,  if  you  come  not  fit  to     65 
make  a  iangling  confort,  will  you  laugh  to  fee  three 
conftant  paffions. 

40  think'st  thou  W,  G  52  thy]   I  W    they  G  64  Enter 

Aurelia  and  Phcenixella.  G 


88  A  pleafant  Comedy,  called  [Act  5 

Max.  Stand  by,  I  will  vrge  them,  fweet  Count,  will 
you  be  comforted. 

Count.     It  cannot  be  but  he  is  handled  the  moft    70 
cruelly. 
That  euer  any  noble  prifoner  was. 

Max.     Steward,  go  cheere  my  Lord : 

Chrif.     Well,  if  Rachel  tooke  her  flight  willingly  ? 

Max.     Sirrah,  fpeake  you  touching  your  daughters     75 
flight? 

Ictq.  O  that  I  could  fo  foone  forget  to  know  the 
thiefe  againe,  that  had  my  gold,  my  gold.  Max.  Is 
not  this  pure? 

Count.     O  thou  bafe  wretch,  ile  drag  thee  through 
the  ftreets,  80 

Enter  Balthafar,  and  whifpers  with  him. 
And  as  a  monfter,  make  thee  woridred  at,  how  now. 

Vhcen.     Sweet  Gentleman?  how  too  vnworthily 
Art  thou  thus  tortured,  braue  Maximillian, 
Pitty  the  poore  youth  and  appeafe  my  father, 

Count.     How,  my  fonne  retumd?  O  Maximillian,         85 
Francifco,  daughters?  bid  him  enter  here. 

"Enter  Chamount,  Ferneze,  Rachel,  Angela. 
Doft  thou  not  mocke  me  ?  O  my  deere  Vaulo  welcome. 

Max.     My  Lord  Chamountf         Cha.     My  Gafper. 

Chrif.     Rachel.      lag.     My  gold  Rachel f  my  gold? 

Count     Some  body  bid  the  begger  ceafe  his  noife.         90 

Chrif.     O  fignior  Angela,  would  you  deceiue 
Your  honeft  friend,  that  f imply  trufted  you? 
Well  Rachel:  I  am  glad  tho'  art  here  againe. 

Ang.     I  faith  fhe  is  not  for  you  fteward. 

laq.     I  befeech  you  maddam  vrge  your  father.  95 

Fhce.     I  will  anon?  good  laques  be  content. 

Aur.  Now  God  a  mercy  fortune,  and  fweet  Venus, 
Let  Cupid  do  his  part,  and  all  is  well. 

Rhoe.     Me  thinks  my  heart's   in  heauen  with   this 
comfort. 


Scene  5]  The  Cafe  is  Alter d  89 

Cha.     Is  tliis  the  true  Italian  courtefie.  lOO 

Ferneze  were  you  torturd  thus  in  France  ?  by  my  foules 
fafety. 

Count.     My  moft  noble  Lord?  I  do  befeech  your 
Lordfhip. 

Cha.     Honored   Count,   wrong  not  your   age   with  105 
flexure  of  a  knee, 

I  do  impute  it  to  thofe  cares  and  griefes, 
That  did  torment  you  in  your  abfent  fonne. 

Count     O  worthy  gentlemen,  I  am  afhamd 
That  my  extreame  affection  to  my  fonne,  no 

Should  giue  my  honour  fo  vncur'd  a  maine. 
But  my  firft  fonne,  being  in  Vicenza  loft. 

Cha.     How  in  Vicenza?  loft  you  a  fonne  there? 
About  what  time  my  Lord  ? 

Count.     O  the  fame  night,  wherein  your  noble  father  115 
tooke  the  towne. 

Cha.     How   long's   that   fince   my   Lord?   can   you 
remember. 

Count.     Tis  now  well  nie  vpon  the  twentith  yeare. 

Cha.     And  how  old  was  he  then? 

Count.     I  cannot  tel,  betweene  the  yeares  of  three  120 
and  foure,  I  take  it. 

Cha.     Had  he  no  fpeciall  note  in  his  attire. 
Or  otherwife,  that  you  can  call  to  mind. 

Count    I  cannot  well  remember  his  attire, 
But  I  haue  often  heard  his  mother  fay:  125 

He  had  about  his  necke  a  tablet, 
Giuen  to  him  by  the  Emperour  Sigifmund. 
His  Godfather,  with  this  infcription, 
Vnder   the   figure    of    a   filuer    Globe:     E«    minimo, 
mundus.  130 

Cha.     How  did  you  call  your  fonne  my  Lord? 

103  Lord?  [Kneels.  G  105  Count,  [Raises  him.  G 

III  maine,]  maim;    W,  G  129  En]  In  W,  G 


90  A  pleafant  Comedy,  called  [Act  5 

Count     Camillo  Lord  Chamount. 

Cha.     Then  no  more  my  Gafperf  but  Camillo, 
Take  notice  of  your  father,  gentlemen : 
Stand  not  amazd?  here  is  a  tablet,  135 

With  that  infcription  ?  found  about  his  necke 
That  night,  and  in  Vicenza  by  my  father, 
(Who  being  ignorant,  what  name  he  had) 
Chriftned  him  Oaf  per,  nor  did  I  reueale, 
This  fecret  till  this  hower  to  any  man.  140 

Count.  O  happy  reuelation?  6  bleft  hower?  6  my 
Camillo. 

Vhoe.     O  ftrange  my  brother. 

Yran.  Maximilionf  behold  how  the  aboundance  of 
his  ioy  145 

Drownds  him  in  teares  of  gladneffe. 

Count.     O  my  boy  ?  f orgiue  thy  fathers  late  aufterity : 

Max.  My  Lord?  I  deliuered  as  much  before,  but 
your  honour  would  not  be  perfwaded,  I  will  hereafter 
giue  more  obferuance  to  my  vifions?  I  drempt  of  this.  150 

lag.     I  can  be  ftill  no  longer,  my  good  Lord, 
Do  a  poore  man  fome  grace  mongft  all  your  ioyes. 

Count.     Why  whats  the  matter  laques. 

laq.  I  am  robd,  I  am  vndone  my  Lord,  robd  and 
vndone:  155 

A  heape  of  thirty  thoufand  golden  crownes, 
Stolne  from  me  in  one  minute,  and  I  feare: 
By  her  confedracy,  that  cals  me  father. 
But  fhe's  none  of  mine,  therefore  fweet  Lord : 
Let  her  be  tortured  to  confeffe  the  truth.  160 

Max.     More  wonders  yet. 

Count.     How  laques  is  not  Rachel  then  thy  daughter. 

laq.     No,  I  difclaime  in  her,  I  fpit  at  her, 
She  is  a  harlot,  and  her  cuftomers. 

Your  fonne  this  gallant,  and  your  fteward  here,  165 

Haue  all  been  partners  with  her  in  my  fpoile?  no  leffe 
then  thirty  thpufand. 


Scene  5]  The  Cafe  is  Alter d  91 

Count,  laques,  laques,  this  is  impoffiole,  how 
fhouldft  thou  come?  to  the  poffeffion  of  fo  huge  a 
heape :  170 

Being  alwaies  a  knowen  begger. 

lag.     Out  alas,  I  haue  betraid  my  felf e  with  my  owne 
tongue, 
The  cafe  is  alterd.  Count.     One  ftay  him  there. 

Max.     What  meanes  he  to  depart,  Count  Yerneze,  175 
vpon  my  foule  this  begger,  this  begger  is  a  counterf ait : 
vrge  him?  didft  thou  loofe  gold?         lag.     O  no  I  loft 
no  gold. 

Max.     Said  I  not  true. 

Count.     How?  didft  thou  firft  loofe  thirty  thoufand 
crowns,  180 

And  now  no  gold  ?  was  Rachel  firft  thy  child : 
And  is  fhee  now  no  daughter,  firra  laques, 
You  know  how  farre  onr  Millaine  lawes  extend,  for 
punifhment  of  liars, 

lag:     I   my  Lord?   what  fhall   I   d,oe?   I   haue  no  185 
ftarting  hols  ? 
Mounfieur  Chamount  ftand  you  my  honored  Lord. 

Cha.     For  what  old  man? 

log.     Ill  gotten  goods  neuer  thriue, 
I  plaid  the  thief e,  and  now  am  robd  my  felf e : 
I  am  not  as  I  feeme,  laques  de  prie,  190 

Nor  was  I  borne  a  begger  as  I  am : 
But  fometime  fteward  to  your  noble  father. 

Cha.  What  Melun  that  robd  my  fathers  treafure, 
ftole  my  fifter? 

lag.     I,   I,   that  treafure   is   loft,   but  Ifabell   your  195 
beautious  fifter  here  feruiues  in  Rachel:  and  therefore 
on  my  knes  ? 

Max     Stay  laques  ftay  ?  the  cafe  f till  alters  ? 

174  alterd.  [Going.  G  174  Some  one  W,  G  174  there.] 

here.  Wj  G  176  (first)   this  begger,]   om.  G  184  punish- 

ing W  186  [Aside.  G  190  as]  what  IV,  G 


9*  A  plea f ant  Comedy,  called  [Act  5 

Count.     Faire  'Rachel  fifter  to  the  Lord  Chamount. 

Aug.     Steward  your  cake  is  dow,  as  well  as  mine.  200 

Paw.     I  fee  that  honours  flames  cannot  be  hid, 
No  more  then  lightening  in  the  blackeft  cloud. 

Max.     Then  firra  tis  true?  you  haue  loft  this  gold, 

laq.     I  wortliy  fignior,  thirty  thoufand  crownes. 

Count.     Maffe  who  was  it  told  me,  that  a  couple  of  205 
my  men,  were  become  gallants  of  late. 

¥ran.     Marry  twas  I  my  Lord  ?  my  man  told  me  ? 

Enter  Onion  and  luniper. 

Max.     How  now  what  pagent  is  this, 

luni.  Come  fignior  Onion,  lets  not  be  afhamd  to 
appeare,  210 

Keepe  ftate?  looke  not  ambiguous  now? 

Oni.     Not  I  while  I  am  in  this  fute. 

luni.     Lordings,  equiualence  to  you  all. 

Oni.  We  thought  good,  to  be  fo  good,  as  fee  you 
gentlemen  215 

Max.     What?  mounfieur  Onion t 

Oni.     How  doft  thou  good  captaine. 

Count.     What  are  my  hinds  turnd  gentlemen. 

Oni.     Hinds  fir?  Sbloud  and  that  word  will  beare 
action,  it  fhall  coft  vs  a  thoufand  pound  a  peece,  but  220 
weele  be  reuenged. 

luni.     Wilt  thou  fell  thy  Lordfhip  Count? 

Count.     What  ?  peafants  purchafe  Lordfhips  ? 

luni.     Is  that  any  Nouels  fir. 

yiax^     O  tranfmutation  of  elements,  it  is  certified  225 
you  had  pages: 

luni.  I  fir,  but  it  is  knowen  they  proued  ridiculus, 
they  did  pilfer,  they  did  purloine,  they  did  procraftinate 
our  purfes,  for  the  which  wafting  of  our  ftocke,  we 
haue  put  the  to  the  ftocks.  230 

207  Enter  Onion  and  Juniper  dressed  as  before.  G  220  an 

action  W,  G 


Scene  5]  The  Cafe  is  Alter d  93 

Count.     And  thither  fhall  you  two  prefently, 
Thefe  be  the  villaines,  that  ftole  laques  gold, 
Away  with  them,  and  fet  them  with  their  men, 

yiax.     Onion  you  will  now  bee  peeld. 

Fran;     The  cafe  is  alterd  now  235 

Oni.     Good  my  Lord,  good  my  Lord : 

luni.     Away    fcoundrell?    doft   thou    feare   a   little 
elocution  ? 

Shall  we  be  confifcate  now?  fhal  we  droope  now? 
Shall  we  be  now  in  helogabolus :  240 

Oni.     Peace,  peace,  leaue  thy  gabling? 

Count.     Away,  away  with  them;    whats  this  they 
prate.  Exeunt  with  luniper  and  Onion. 

Keepe  the  knaues  fure,  ftrickt  inquifition 
Shall  prefently  be  made  for  laques  gold. 
To  be  difpofd  at  pleafure  of  Chamount.  245 

Cha.     She  is  your  owne  Lord  Paulo,  if  your  father 
Giue  his  confent. 

Aw^.     How  now  Chriftofero?    The  cafe  is  alterd. 

Chrif.     With  you,  as  well  as  me,  I  am  content  fir. 

Count.     With  all  my  heart?  and  in  exchange  of  her,  250 
(If  with  your  faire  acceptance  it  may  ftand) 
I  tender  my  Aurelia  to  your  loue. 

Cha.     I  take  her  from  your  Lordfhip,  with  all  thanks, 
And  bleffe  the  hower  wherein  I  was  made  prifoner : 
For  the  fruition  of  this  prefent  fortune,  255 

So  full  of  happy  and  vnlookt  for  ioyes. 
Melun,  I  pardon  thee,  and  for  the  treafure, 
Recouer  it,  and  hold  it  as  thine  owne : 
It  is  enough  for  me  to  fee  my  fifter : 

Liue  in  the  circle  of  Fernezes  armes,  260 

My  friend,  the  fonne  of  fuch  a  noble  father, 
And  my  vnworthy  felf e  rapt  aboue  all. 
By  being  the  Lord  to  fo  diuine  a  dame. 

242  [Exeunt  Servants  with  Jun.  and  Onion.  G  251  your] 

you  W  262  wrapt  IV  263  to]  of  W 


94  ^  pleafant  Comedy,  etc.  [Act  5 

Max.  Well,  I  will  now  fweare  the  cafe  is  alterd. 
Lady  fare  you  well,  I  will  fubdue  my  affections,  Mad-  265 
dam  (as  for  you)  you  are  a  prof  eft  virgin,  and  I  will 
be"  filent,  my  honorable  Lord  Ferneze,  it  fhall  become 
you  at  this  time  not  be  frugall,  but  bounteous,  and  open 
handed,  your  fortune  hath  been  fo  to  you  Lord 
Chamount.  270 

You  are  now  no  ftranger,  you  muft  be  welcome,  you 
haue  a  faire  amiable  and  fplendius  Lady :  but  fignior 
Faulo,  fignior  Camillo,  I  know  you  valiant?  be  louing: 
Lady  I  muft  be  better  knowne  to  you,  figniors  for  you, 
I  paffe  you  not:  though  I  let  you  paffe;  for  in  truth  275 
I  paffe  not  of  you,  louers  to  your  nuptials,  Lordings  to 
your  dances,  March  faire  al,  for  a  faire  March,  is 
worth  a  kings  ranfome. "Exeunt 


The  end. 


272  splendid  W,  G 


Notes  95 


NOTES. 

These  notes  include  whatever  has  been  thought  valuable  in  previ- 
ous editions.  Notes  signed  W  are  from  Whalley,  G  from  Gifford, 
C  from  Cunningham.  The  Bibliography  should  be  consulted  for 
other  abbreviated  references  and  editions  of  works  cited.  Refer- 
ences to  the  text  of  The  Case  is  Altered  are  to  act,  scene,  and  line 
of  this  edition ;  other  references  to  Jonson  are  to  volume  and  page 
of  the  Cunningham-Gifford  edition  of  1875. 

TITLE-PAGE 

The  Case  is  Alterd.  A  proverbial  expression,  said  to  have  been 
originated  by  Edmund  Plowden  (1518-1585),  a  celebrated  lawyer. 
'His  name  was  embodied  in  the  proverb,  "The  Case  is  Altered, 
quoth  Plowden,"  which  has  occasioned  some  speculation  as  to  its 
origin.  The  most  probable  explanation  is  that  Plowden  was  engaged 
in  defending  a  gentleman  who  was  prosecuted  for  hearing  mass, 
and  elicited  the  fact  that  the  service  had  been  performed  by  a  lay- 
man, who  had  merely  assumed  the  sacerdotal  character  and  vest- 
ments for  the  purpose  of  informing  against  those  who  were  present. 
Thereupon  the  acute  lawyer  remarked,  "The  case  is  altered :  no 
priest,  no  mass,"  and  succeeded  in  obtaining  the  acquittal  of  his 
client.' — D.N.B.  Other  explanations  are  given  by  Ray  (p.  119)  ; 
Grose  (p.  219);    Hazlitt  (1907,  p.  411). 

The  following  are  some  of  the  places  where  the  expression  is 
quoted:  Every  Man  In  1. 139;  Return  from  Parnassus  (p.  64); 
3  Hen.  VI  4-  3-  3i ;  Kyd,  Solyman  and  Perseda  (p.  192)  ;  Lyly, 
Mother  Bombie  (Wks.  3.218)  ;  Chapman,  May  Day  (Wks.  2.341)  ; 
Greene,  James  IV  {Wks.  13.315),  George  a  Greene  {Wks.  14.  156), 
Looking  Glass  for  London  {Wks.  14.38);  Harvey,  Foure  Letters 
{Wks.  1. 185)  ;  Heywood,  //  You  Know  Not  Me  {Wks.  1.332); 
Nashe,  Sajffron-Walden  {Wks.  3.  loi). 

Chappell  says  there  was  a  tune  called  'The  case  is  altered,'  to 
which  many  ballads  were  sung  (1.279). 

children  of  the  Black-friers.  One  of  the  companies  of  players 
selected  from  the  choirs  of  the  Chapel  Royal,  and  from  the 
cathedral  and  collegiate  churches  in  and  near  London.  Under  the 
management  of  Nathaniel  Gyles,  it  performed  at  the  Blackfriars 
from  1597  to  1603.    The  same  company  performed  Cynthia's  Revels 


96  The  Cafe  is  Alterd  [Title-Page 

(1600),  Poetaster  (1601),  and,  as  the  Children  of  her  Majesty's 
Revels,  Epiccene  (1609)  ;  cf.  Fleay,  Stage  (p.  127),  Drama  (1.348-9, 
362,  365);  Brooke  (p.  380);  Baker  (pp.  12,  13);  Schelling  (i.  in 
ff.,  472-3)  ;  Ward  (2.  354,  356,  364) ;  Wallace,  The  Children  .  .  . 
at  Blackfriars. 

'The  freehold  of  the  house  which  was  transformed  into  this 
theatre  was  purchased  by  James  Burbadge  of  Sir  W.  More  4th 
May  1596.  It  was  near  Ludgate  in  London,  so  that  both  the  private 
houses  were  within  the  walls.  It  consisted  of  seven  large  rooms, 
middle  stories,  and  upper  rooms.  The  purchase  money  was  i6oo. 
.  .  .  There  is  no  trace  of  any  performance  there  until  November 
1598,  when  The  Case  is  altered,  by  Jonson,  (his  earliest  extant 
play)  was  acted  by  "the  children  of  the  Blackfriars."  ...  In 
1642  this  theatre  was  finally  closed'  (Fleay,  Stage,  pp.  152-3).  See 
also  Baker  (pp.  11-3)  ;  Lawrence  {s.  v.  Blackfriars)  ;  Schelling 
(i.  154, 160) ;    Wallace,  The  Children    .    .    .    at  Blackfriars. 

Written  by  Ben  lonson.  His  name  is  omitted  from  some  copies 
of  the  quarto.  A  discussion  of  this  will  be  found  in  the  Introduc- 
tion, pp.  xi  ff. 

In  Domino  confido.  See  Ps.  11.  i.  The  use  by  printers  and 
publishers  of  special  ornaments  or  designs  in  order  to  distinguish 
their  work  from  that  of  others  came  from  the  Continent,  where 
devices  had  been  used  by  printers  since  1462.  The  earliest  device 
used  in  England  was  that  of  the  St.  Albans  Press,  which  dates 
from  about  1485.  Caxton's  was  the  next,  and  was  used  about  1487 
or  1488.  Up  to  the  end  of  the  fifteenth  century,  only  eleven  separate 
devices  were  in  use. 

The  device  of  the  fleur-de-lis,  which  appears  on  the  title-page  of 
our  play,  was  used  by  several  printers.  It  seems  first  to  have  been 
used  by  John  Wolfe,  who  was  printer  to  the  City  of  London  from 
1593  to  1601.  At  his  death  in  1601,  his  business  and  stock  were 
transferred  to  Adam  Islip,  but  his  devices  seem  to  have  been  dis- 
persed. Regarding  Wolfe's  adoption  of  the  fleur-de-lis,  McKerrow 
says  {Devices,  p.  xxix)  :  'Wolfe  had,  as  is  well  known,  a  connection 
with  Italy,  and  is  supposed  to  have  passed  some  time  at  Florence 
about  1576.  It  is  perhaps  for  this  reason  that  as  his  regular  device 
he  used  the  fleur-de-lis  of  the  Junta  family.  Most  if  not  all  of  his 
numerous  fleur-de-lis  devices  are  more  or  less  closely  copied  from 
those  of  one  or  other  branch  of  this  family,  who  had  printing 
establishments  at  Florence,  Venice,  and  Lyons.' 

There  is  no  record  of  how  the  device  came  to  be  used  by  Barren- 
ger  and  Sutton.  The  probability  is  that  it  was  selected  merely  as 
an  ornament.    More  details  of  the  history  and  use  of  the  fleur-de- 


Act  i]  Notes  97 

lis  by  printers  will  be  found  in  McKerrow  {Devices,  pp.  xi,  xxix, 
5,  185,  186,  264-72,  298). 

Bartholomew  Sutton  and  William  Barrenger.  Bartholomew  Sut- 
ton was  a  bookseller  in  London,  1609,  at  St.  Paul's  churchyard.  He 
was  the  son  of  Bartholomew  Sutton,  citizen  and  draper  of  London. 
Apprenticed  for  eight  years  to  Edward  Whyte,  stationer  of  London, 
from  December  25,  1601,  he  took  up  his  freedom  on  January  18, 
1608/9  (Arber  2.255;  3- 683).  He  made  his  first  book-entry  in 
partnership  with  William  Barrenger  on  March  3,  1608/9  (Arber  3. 
403;    McKerrow,  Diet,  of  Printers,  p.  259). 

WiUiam  Barrenger  (or  Barringer)  was  a  bookseller  in  London, 
1600- 1622,  near  the  great  north  door  of  St.  Paul's.  He  was  the 
son  of  Thomas  Barrenger  of  Steventon,  Co.  Bedford,  yeoman. 
Apprenticed  to  Clement  Knight,  stationer  of  London,  for  eight 
years,  from  midsummer,  1600  (Arber  2.245),  he  took  up  his  freedom 
January  8,  1607/8   (Arber  3.683;    McKerrow,  Diet.,  p.  24). 

great  North-doore  of  Saint  Paules  Church.  St.  Paul's  church- 
yard, chiefly  occupied  by  printers  and  booksellers,  was  an  irregular 
area,  lined  with  houses  and  booths,  encircling  St.  Paul's  Cathedral. 
At  an  early  date,  the  printers  abandoned  the  churchyard  to  the 
booksellers,  probably  because  they  needed  more  room  for  their  print- 
ing. After  the  fire  which  destroyed  the  old  Cathedral,  the  majority 
of  the  stationers  removed  to  Little  Britain  and  Paternoster  Row. 
Cf.  Wheatley-Cunningham,  London  Past  and  Present  (3. 53-4)  ; 
Stationers'  Register  (Vol.  5)  ;    McKerrow,  Devices. 

ACT  I 

1. 1. 1.  Yov  wofuU  wights,  etc.  Probably  a  parody  on  the 
manner  in  which  the  ballads  of  the  day  usually  began.  Jonson 
evidently  did  not  favor  this  kind  of  literature.  Cf.  Conversations 
9.404:  'A  poet  should  detest  a  Ballet  maker.'  We  gain  the 
same  impression  from  his  disparaging  references  to  ballads,  in  his 
works :  Every  Man  In  i.  204  (cf.  pp.  21-2,  97,  102)  :  'And  they  must 
come  here  to  read  ballads,  and  roguery,  and  trash.'  Nightingale, 
the  ballad-singer  in  Bartholomew  Fair,  will  be  remembered  (4.  385, 
393-4,425-30).  See  also  Pleasure  Reconciled  7.300;  Neptune's 
Triumph  8.28;   Fortunate  Isles  8.71;  Underwoods  8.369. 

Regarding  the  popularity  of  ballads,  Chappell  writes  (pp.  105-6)  : 
'Some  idea  of  the  number  of  ballads  that  were  printed  in  thi 
early  part  of  the  reign  of  Elizabeth  may  be  formed  from  the  fact 
that  seven  hundred  and  ninety-six  ballads,  left  for  entry  at 
Stationers'  Hall,  remained  in  the  cupboard  of  the  council  chambers 


98  The  Cafe  is  Alterd  [Act  i 

of  the  company  at  the  end  of  the  year  1560,  to  be  transferred  to 
the  new  Wardens,  and  only  forty-four  books.' 

The  best  collection  of  ballads  is,  of  course,  Child's  English  and 
Scottish  Popular  Ballads.  For  the  Cambridge  edition  of  this  work, 
Professor  Kittredge  has  written  a  valuable  introduction.  A  discus- 
sion of  the  literary  character  of  the  ballad  will  be  found  in  Gum- 
mere,  The  Popular  Ballad  (Boston  and  New  York,  1907).  A 
bibliography  of  ballads  will  be  found  in  The  Cambridge  Hist,  of 
Eng.  Lit.  (2.553-6). 

1. 1. 14.  Ha  resembles  our  eh.  Franz  (249-55)  has  a  compre- 
hensive list  of  interjections. 

1. 1. 18-9.  now  must  I  of  a  merry  Cobler  become  mourning 
creature.  Cf.  Every  Man  In  1.49:  'I  cannot  choose  but  laugh  to 
see  myself  translated  thus,  from  a  poor  creature  to  a  creator.' 

Of  sometimes  meant  instead  of,  when  used  with  become  (Matzner 
2.240;  Abbott  171).  According  to  Professor  Cook,  this  usage  is 
to  be  found  in  'classical'  English  writers,  since  it  comes  from 
Greek  and  Latin.  Judson  {Yale  Studies  45.231)  has  a  valuable 
note  on  the  subject,  furnishing  numerous  references  from  Greek 
and  Latin  writers.  See  Cynthia's  Revels  2.  355  :  'And  of  a  stone,  be 
called  a  Weeping-cross' ;  Volpone  3. 192 :  'Of  a  whore,  she  became 
a  philosopher' ;  Staple  of  News  5.  249 :  'Of  an  advocate,  he  grew  the 
client';  Nabbes,  Microcosmos  (9.133,  Dodsley,  1825):  'Of  her 
gentleman-usher,  I  became  her  apple-squire.' 

a  merry  Cobler.  Cobblers  were  proverbially  merry.  In  Locrine 
(2. 2)  they  enter  and  sing,  'We  coblers  lead  a  merie  life.'  Thomas 
Deloney,  in  The  Gentle  Craft,  has  six  short  stories  dealing  with  men 
of  this  trade.  In  one  of  them  (p.  61),  a  man  masquerading  as  a 
cobbler  is  found  to  be  an  imposter,  because  he  could  neither  sing, 
sound  the  trumpet,  play  the  flute,  nor  'recon  up  his  tooles  in  rime.' 
See  also  Dekker,  Shoemaker's  Holiday  (Wks.  1.277);  Wilson, 
Cobbler's  Prophecy. 

mourning  creature.  By  putting  on  a  black  coat.  The  family 
were  in  mourning  for  the  death  of  Lady  Ferneze. 

1. 1. 21.  a  word  to  the  wise.  See  Plautus,  Persa  4.7.19:  'Dic- 
tum sapienti  sat  est'  The  same  expression  is  found  in  Terence, 
Phormio  3.  3.  8.  Cf .  Rabelais,  Pantagruel  5.  7 :  'A  bon  entendeur 
ne  fault  qu'une  parole.'  A  part  of  the  Portuguese  version  of  the 
proverb  is  quoted  in  the  Masque  of  Augurs  7. 420.  See  also  Miscel- 
laneous Pieces  9-328;  Brome,  City  Wit  {Wks.  1.356).  Other 
examples  may  be  found  in  Ray  (p.  117)  and  Hazlitt  (1907,  pp. 
31,  45). 

I.I. 22-3.  Lye  there  the  weedes  that  I  disdaine  to  weare. 
Cf.  Marlowe,  /  Tamburlaine  {Wks.  i.  18)  :   'Lie  here  ye  weeds  that 


Act  i]  Notes  99 

I  disdain  to  wear.'  The  expression  was  used  to  serve  various  pur- 
poses. Referring  to  one  that  had  been  killed :  Marlowe,  Massacre 
at  Paris  {Wks.  2.279):  'Lie  there,  the  King's  delight,  and  Guise's 
scorn';  Rom.  and  Jul.  5.3.87;  K.  John  3.2.3;  2  Hen.  VI  5.2.66; 
T.  Andron.  1.1.387;  laying  down  apparel:  Tempest  1.2.25:  'Lie 
there  my  art';  Staple  of  News  5.162;  Marston,  Eastward  Hoe 
(IVks.  3.32);  Ford,  Lover's  Melancholy  (IVks.  1.22);  referring 
to  a  sword  :  2  Hen.  IV  2. 4.  197  :  'Sweetheart,  lie  thou  there' ;  Rom. 
and  Jul.  4.  3. 23 ;  speaking  of  a  letter :  T.  Night  2.  5. 24.  In  this 
connection,  Dyce  has  collected  several  references  relating  to  apparel 
(Shak.  Gloss.,  p.  244). 

1. 1.  26.  Ingle.  Originally  a  boy  favorite.  Later  'it  came  to  be 
used  for  a  mere  intimate.  .  .  .  The  boys  of  the  theatre  were 
frequently  called  Engle,  which  is  more  likely  than  anything  else  to 
have  brought  the  word  into  common  use,  and  to  have  abolished  the 
first  meaning.' — Nares.  Cf.  Nashe,  Foure  Letters  (Wks.  1.326): 
'I  am  afraide  thou  wilt  make  mee  thy  Ingle.'  In  Histrio-Mastix 
(Simpson,  Sch.  of  Shak.  2.  33),  the  editor  defines  ingles  as:  'Players, 
claque  men,  or  applauders.'  The  definition  refers  to  the  following 
passage  in  that  play  (the  characters  are  speculating  on  the  reception 
of  a  sub-play  called  The  Prodigall  Childe)  : 

'Gulsh.    I,  but  how  if  they  do  not  clap  their  hands? 

Post.     No  matter  so  they  thump  us  not. 
Come,  come,  we  poets  have  the  kindest  wretches  to  our  Ingles. 

Belch.    Why,  whats  an  Ingle,  man? 

Post.  One  whose  hands  are  hard  as  battle  doors  with  clapping 
at  baldness. 

Clorot.  Then  we  shall  have  rare  ingling  at  the  prodigall  child.' 
See  Poetaster  2.  378  (and  cf .  405,  434)  :  'What !  shall  I  have  my  son 
a  stager  now?  an  enghle  for  players?  a  gull,  a  rook,  a  shotclog,  to 
make  suppers,  and  be  laughed  at';    Cynthia's  Revels  2.211. 

In  our  play,  the  word  is  used  only  by  Juniper,  and  each  time  to 
an  intimate.  For  the  term  used  in  this  sense,  see  Massinger, 
City-Madam  ( Wks.  4.  70)  :  'Coming,  as  we  do,  From  his  quondam 
patrons,  his  dear  ingles  now';  Peele,  Jests  {Wks.  2.  394)  :  'He  was 
in  a  manner  an  ingle  to  George,  one  that  took  great  delight  to  have 
the  first  hearing  of  any  work  that  George  had  done' ;  Scott, 
Kenilworih  (Chap.  3)  :  'Ha!  my  dear  friend  and  ingle,  Tony  Foster.' 
See  also  Epiccene  3.344;  Dekker,  Wonderfull  Yeare  (Pr.  Wks.  i. 
87);  and  his  Guls  Horne-booke  (Pr.  Wks.  2.264).  The  word  was 
not  used  by  Shakespeare. 

1. 1. 28.  put  to  my  shifts.  Forced  to  adopt  some  stratagem  or 
trick;   to  be  in  a  difficulty:   Cynthia's  Revels  2.279:    'As  a  citizen's 


loo  The  Cafe  is  Alter d  [Act  i 

wife,  be  troubled  with  a  jealous  husband,  and  put  to  my  shifts'; 
Marlowe,  Jew  of  Malta  (Wks.  2.29)  : 

And,  since  you  leave  me  in  the  ocean  thus 
To  sink  or  swim,  and  put  me  to  my  shifts, 
I'll  rouse  my  senses  and  awake  myself. 

See  also  T.  Andron.  4.  2. 175 ;  Sheridan,  Rivals  5.  i.  Johson  has 
another  example  in  Love  Restored  7.201. 

1. 1. 31.  Are  come  used  for  have  come  (Matzner  2.73;  Franz 
631 ;  N.  E.  D.,  s.  V.  he  14  b,  have  24). 

1. 1. 34-5.  he  is  one  as  right  of  thy  humour  as  may  be.  Cf . 
Poetaster  i.  374:   'I  am  right  of  mine  old  master's  humour  for  that' 

1. 1. 35-6.  he  hath  bene  a  notable  vilaine  in  his  time.  Cf. 
Every  Man  Out  2.7,  140:  '[Fungoso]  One  that  has  revelled  in  his 
time';  'He  has  done  five  hundred  robberies  in  his  time';  Poetaster 
2.414:  T  have  been  a  reveller,  ...  in  my  time';  Epicoene  3.351, 
379:  'I  have  been  a  mad  wag  in  my  time';  'He  has  been  a  great 
man  at  the  Bear-garden  in  his  time' ;  Barth.  Fair  4.  388 :  'I  have 
been  one  of  your  little  disciples,  in  my  days.' 

1. 1. 37.  A  discussion  of  the  uses  of  shall  and  mil  and  other 
auxiliaries  is  found  in  Franz  608  ff. ;    Matzner  2.80,130;    N.  E.  D. 

1. 1.42-3.  I  come  with  a  powder?  Impetuously,  with  all  speed. 
The  N.  E.  D.  quotes  from  George  Ruggle,  Club  Law,  c.  1600  (3. 
4. 1295,  ed.  1907)  :  'He  sett  you  in  with  a  powder  {hee  fells  him)' ; 
and  New  Sermon  of  Newest  Fashion,  ?  1640  (p.  39,  ed.  1877)  :  'If 
I  might  have  my  will  itt  should  goe  downe  with  a  pouder.'  See 
also  Marlowe,  Jew  of  Malta  ( Wks.  2. 69)  :  'Here's  a  drench  to 
poison  a  whole  stable  of  Flanders  mares :  I'll  carry  't  to  the  nuns 
with  a  powder';  Fuller,  Pisgah-sight  (5.5,  p.  151,  London,  1662): 
'Jordan  .  .  .  comes  down  with  a  powder,  and  at  set  times 
overflows  all  his  banks.' 

An  interrogation-point  was  often  used  after  an  exclamation. 
Cf.  Simpson,  Shakespearian  Punctuation,  p.  85,  Oxford,  1911. 

I.I.  43-5.  I  must  haue  you  peruse  this  Gentleman  well,  and 
doe  him  good  offices  of  respect  and  kindnesse.  Cf.  Every  Man 
Out  2.63:  'One  that  I  must  entreat  you  to  take  a  very  particular 
knowledge  of,  and  with  more  than  ordinary  respect';  ib.  2.139: 
'Know  this  gentleman,     ...     do  him  good  offices.' 

1. 1.  53.  Pageant  Poet.  The  following  may  be  mentioned  among 
others  as  serving  in  this  capacity  for  the  Lord  Mayors'  pageants : 
Peele,  Munday,  Dekker,  Middleton,  Webster,  Jonson,  and  Thomas 
Heywood. 


Act  i]  Notes  loi 

The  term  'pageant'  was  originally  applied  to  the  movable  scaffold 
on  which  a  play  was  produced,  but  later  it  was  used  of  the  play 
itself.  In  its  widest  sense,  the  word  includes  the  processional 
pageants  or  miracle  plays  of  the  town  guilds ;  performances  in 
connection  with  particular  festivals,  such  as  Corpus  Christi  Day, 
Midsummer  Eve,  Eves  of  St.  John  and  of  St.  Peter,  etc. ;  the  play 
of  St.  George,  which  was  often  accompanied  by  processional 
pageantry;  representations  of  Robin  Hood  during  Mayday  festivi- 
ties ;  and  the  Hock  Tuesday  plays  at  Coventry,  a  performance  of 
which  was  witnessed  by  Queen  Ehzabeth  at  Kenilworth  in  1575. 

In  the  generally  accepted  and  narrower  sense,  the  term  'pageant' 
was  used  for  moving  shows  with  very  little  dialogue  or  action. 
Their  character  was  largely  allegorical.  This  class  of  show  was 
usually  performed  on  some  state  occasion :  the  procession  of  the 
rulers  to  Westminster  for  their  coronation;  the  progress  of  royalty 
through  various  parts  of  the  kingdom ;  the  reception  of  foreign 
monarchs;  the  return  of  the  monarch  from  abroad;  and  the  Lord 
Mayor's  annual  procession  to  celebrate  his  entrance  into  office. 
Pageants  of  this  character  began  in  England  in  1236  under  Henry 
III,  and  were  given  at  intervals  during  most  of  the  reigns  of  the 
succeeding  monarchs,  but  especially  in  the  reigns  of  Henry  VIII 
and  Queen  Elizabeth.  In  the  course  of  the  latter's  reign,  the  most 
celebrated  pageant  was  that  recorded  by  Laneham  as  given  in  1575, 
on  her  visit  to  Kenilworth. 

The  material  for  pageants  was  usually  selected  from  the  Bible, 
history,  mythology,  folk-lore,  and  from  events  illustrating  the  glory 
of  the  city,  organization,  or  personage  in  whose  honor  the  perform- 
ance was  given.  Strutt  (p.  xl)  remarks  that  along  the  line  of 
march  were  usually  to  be  seen  'castles,  palaces,  gardens,  rocks,  or 
forests,'  in  which  were  gathered  'nymphs,  fawns,  satyrs,  gods, 
goddesses,  angels,  devils,  giants,  dragons,  saints,  knights,  dwarfs, 
buffoons,  minstrels,  and  choristers.' 

For  a  more  complete  study,  the  works  of  the  following  may  be 
consulted:  Nichols;  Fairholt,  Lord  Mayors'  Pageants;  Sharp; 
Spencer;  Chambers  (2.160-76);  Strutt;  Ward  (i.  143-8) ;  War- 
ton  (Index,  s.  w.  Feasts  and  Solemnities,  and  Spectacula)  ;  Greg, 
List  of  Masques. 

1. 1.  60.  Of  sometimes  separated  an  object  from  the  direct  action 
of  the  verb  (Abbott  177;    Franz  513). 

1. 1. 66.  my  minde  to  me  a  kingdome  is.  From  a  poem  by 
Dyer  (d.  1607).  It  was  included  by  Byrd  in  his  Psalmes,  Sonets, 
and  Songs  of  Sadnes  (1588).  Among  others  it  appears  in  Hannah, 
Courtly  Poets;  Fuller,  Worthies  Library  (4.  251,  ed.  Grosart,  1872)  ; 


I02  The  Cafe  is  Alterd  [Act  i 

Percy,  Reliques  (1.234);  Arber,  English  Garner  (2.78).  The  ver- 
sion in  the  Reliques  has  slight  differences.  Chappell  (i.  117),  in  a 
note,  says  the  poem  was  sung  to  the  tune  of  In  Crete.  The  poem 
is  supposed  to  have  been  suggested  by  a  verse  in  Seneca,  Thyestes 
(2.380)  :  'Mens  regnum  bona  possidet.'  The  first  stanza  (Hannah, 
p.  149)  reads : 

My  mind  to  me  a  kingdom  is, 
Such  present  joys  therein  I  find, 

That  it  excels  all  other  bliss 
That  earth  affords  or  grows  by  kind : 

Though  much  I  want  which  most  would  have, 

Yet  still  my  mind  forbids  to  crave. 

In  the  following,  the  first  line  of  the  poem  is  quoted  unchanged: 
Every  Man  Out  2.28;  Taylor,  Begger  (p.  96)  ;  Breton,  The  Courtier 
and  the  Country-man  (p.  191). 

The  following  instances  may  be  cited,  where  the  author  probably 
had  Dyer's  poem  in  mind:   3  Hen.  VI  3. 1.59-60: 

Sec.  Keep.    Ay,  but  thou  talk'st  as  if  thou  wert  a  king. 

K.  Hen.    Why,  so  I  am,  in  mind;  and  that's  enough. 

Beaumont  and  Fletcher,  Monsieur  Thomas  {Wks.  7.315)  : 
I  found  him  at  Valentia,  poor  and  needy. 
Only  his  mind  the  master  of  a  treasure. 

Byrom's  poem,  Carless  Content  {Wks.  of  Eng.  Poets  15.199,  ed. 
Chalmers,  London,  1810)  : 

Dame  Nature  doubtless  has  design'd 

A  man  the  monarch  of  his  mind. 

Southwell's  poem.  Content  and  Rich  {Poems,  p.  58,  ed.  Turnbull, 
London,  1856)  : 

My  mind  to  me  an  empire  is. 

While  grace  affordeth  health. 

Cowper's  poem,  Truth  (11.  405-6)  : 

A  monarch  clothed  with  majesty  and  awe, 
His  mind  his  kingdom,  and  his  will  his  law. 

Greene,  Farewell  to  Follie  ( Wks.  9.  279)  : 

Sweet  are  the  thoughts  that  sauour  of  content. 
The  quiet  mind  is  richer  then  a  crowne. 

1. 1. 66.  truly.  This  word  was  omitted  by  Gifford.  That  it 
should  be  retained  is  clear  from  Antonio's  reply. 


Act  i]  Notes  103 

1. 1.  78.  On  was  used  for  of,  especially  before  a  contracted  pro- 
noun (Abbott  182;   Franz  500;   Matzner  2.  244). 

1. 1. 79.  Maecen-asses.  Dekker,  Guls  Horne-booke  (Pr.  Wks. 
2.  197)  has  the  same  pun :  'Whom  can  I  choose  (my  most  worthie 
Meccen-asses)  to  be  Patrons  to  this  labour  of  mine  fitter  then  your- 
selues.'  See  Every  Man  Out  2. 19 :  'Aristarchus,  or  stark  ass' ; 
Cynthia's  Revels  2.  287 :  'Breeches,  quasi  bear-riches' ;  L.  L.  Lost 
5.  2.  631 :  'Jud-as' ;  and  the  same  play,  4.  2.  85  :  'Master  Parson, 
quasi  pers-on.  An  if  one  should  be  pierced,  which  is  the  one'; 
Davies,  Paper's  Complaint  (Wks.  2.  78,  1878):  'Macheuill,  that 
euill  none  can  match.' 

1. 1,  go.  nothing  but  humours.  Cf.  Poetaster  2.430:  'They  say 
you  have  nothing  but  Humours,  Revels,  and  Satires' ;  ib.  2. 448 : 
'Alas,  sir,  Horace !  he  is  a  mere  sponge ;  nothing  but  Humours  and 
observation.' 

1. 1. 95-6.  the  last  Tearme.  The  last  session  of  the  High  Court 
of  Justice.  The  courts  were  in  session  four  times  a  year.  Halliwell- 
Phillipps  has  published  a  small  book  (Regnal  Years,  Brighton,  1883), 
giving  the  list  of  Law  Terms  during  the  years  1564-1616.  From  this 
we  see  that  the  Hilary  Term  was  usually  Jan.  23-Feb.  12;  the 
Easter  Term  varied  from  Apr.  8-May  4,  to  May  ii-June  6;  the 
Trinity  Term  varied  from  May  22-June  10,  to  June  24-July  13 ;  and 
the  Michaelmas  Term  was  usually  Oct.  9-Nov.  28.  Sundays,  of 
course,  were  excepted.  A  list  of  dates  are  given  also  by  the  C.  D., 
and  by  Harrison  (2.9.208-12). 

Cf.  Meas.  for  Meas.  1. 1. 11-4: 

Our  city's  institutions,  and  the  terms 
For  common  justice,  you're  as  pregnant  in 
As  art  and  practice  hath  enriched  any 
That  we  remember. 

'The  law-terms  were  the  principal  times  for  business  and  pleasure. 
The  country  gentlemen  then  flocked  to  London  with  their  families, 
to  settle  their  disputes,  see  plays  and  puppet  shows  (motions),  and 
learn  the  fashions'  (Gifford,  note,  E.very  Man  Out  2.7).  Cf.  ib. 
('Character'  of  Sogliardo)  :  'He  comes  up  every  term  to  learn  to 
take  tobacco,  and  see  new  motions' ;  Epicaene  3.  22>^  '■  'As  if  a  man 
should  sleep  all  the  term,  and  think  to  effect  his  business  the  last 
day.'  Nares  (s.  v.  term)  remarks:  'They  were  the  harvest  times 
of  various  dealers,  particularly  booksellers  and  authors,  many  of 
whom  made  it  a  rule  to  have  some  new  work  ready  for  every  term.' 
Cf.  Dekker,  Guls  Horne-booke   (Pr.  Wks.  2. 199)  :    'It  is  not  my 


104  The  Cafe  is  Alter d  [Act  i 

ambition  to  bee  a  man  in  Print,  thus  euery  Tearm';  Nashe,  Lenten 
Stuff e  (Wks.  3.  151)  :  'There  is  a  booke  of  the  Red  Herring's  Taile 
printed  foure  Termes  since.' 

For  other  examples,  see  Cynthia's  Revels  2.279;  Alchemist  4.20; 
Staple  of  News  5.  175 ;  As  You  Like  It  3. 2.  349;  2  Hen.  IV  5.  i.  90; 
Dekker,  North-ward  Hoe  {Wks.  3.  11),  Deuils  Answer  (Pr.  Wks. 
2.144),  lests  (Pr.  Wks.  2.288,  295,  327);  Nashe,  Summer's  Last 
Will  (Wks.  3.  292),  Anatomie  of  Absurditie  (Wks.  1.23)  ;  Middle- 
ton,  Michaelmas  Term  (Wks.  1.220);  Seruingmans  Comfort  (p. 
124). 

The  word  termer  sometimes  occurs :  Beaumont  and  Fletcher,  Wit 
at  Several  Weapons  (Wks.  4.6);  Middleton,  Michaelmas  Term 
(Wks.  1. 219),  Family  of  Love  (Wks.  3.7),  Roaring  Girl  (Wks. 
4.7),  Witch  (Wks.  5.360).  In  the  Phoenix,  Middleton  uses  term- 
trotter  (Wks.  1. 122). 

In  addition  to  Middleton's  Michaelmas  Term^  the  following 
titles  will  be  recalled :  Dekker,  The  Dead  Tearme  or  West- 
m,inster's  Complaint  for  Long  Vacations  and  Short  Tearmes; 
Greene,  A  Peale  of  Villanies  rung  out,  being  Musicall  to  all  Gentle- 
men, Latvyers,  Farmers,  and  all  sorts  of  People  that  come  up  to  the 
Tearme. 

1. 1.  96.  A  discussion  of  and,  an,  used  for  if,  is  found  in  Franz 
564;    cf.  A'^.  E.  D.  (an,  2;    and,  C). 

For  the  use  of  see  for  saw,  cf.  Franz  166;  Matzner  2.  67.  Another 
instance  of  a  present  tense  used  for  a  past  is  found  in  4.  i.  15. 

1. 1.  loo-i.  twenty  pound  a  play.  An  unheard-of  sum  before 
1612.  Of  the  amount  received  by  an  author  for  a  play,  Traill  (3. 
570)  says :  'A  new  play  was  known  to  cost  £6.  13s.  4d.,  though  a 
private  theatre  would  be  willing  to  give  double  that  amount.' 
Thornbury  (2.  8)  and  Malone  (Shak.,  1821,  Wks.  3.  161)  report  the 
same  amount.  In  Histrio-Mastix  (Simpson,  Sch.  of  Shak.  2.  50), 
Chrisoganus,  who  is  supposed  to  represent  Jonson,  asks  £10  for  a 
play.  Drummond  (Conversations,  Wks.  9. 407)  remarks :  'Of  all 
his  [Jonson's]  plays  he  never  gained  two  hundreth  pounds.'  In 
Greg's  edition  of  Henslowe's  Diary  (2.  126-7),  this  matter  is  treated 
in  some  detail  in  the  chapter  on  Dramatic  Finance.  From  this  we 
see  that  the  usual  sum  about  1600  was  £6,  though  the  amount 
fluctuated  between  £5  and  £10.  Cf.  Collier  (3.224-32).  For  the 
advance  in  price  after  1612,  see  Greg  (Diary  2.  141)  and  Malone 
(Shak.  3-336). 

Pound  for  pounds.  Plural  nouns  denoting  measure,  value,  dis- 
tance, time,  etc.,  were  often  used  in  the  singular  (Franz  190; 
Matzner  i.  240). 


Act  i]  Notes  105 

1. 1. 104.  giue  me  the  penny.  The  price  of  admission  to  the  pit 
or  gallery  of  the  inferior  theatres.  At  this  time  the  prices  to  any 
part  of  the  theatre  usually  ranged  from  a  penny  to  a  shilling. 
See  Dekker,  Guls  Horne-booke  (Pr.  Wks.  2.  247)  :  'Your  Ground- 
ling and  gallery-Commoner  buyes  his  sport  by  the  penny' ;  Nashe, 
Martin's  Month's  Mind  {Wks.  i.  179,  ed.  Grosart,  1883-1884)  :  'The 
other,  now  wearie  of  our  state  mirth,  that  for  a  penie,  may  haue 
farre  better  oddes  at  the  Theater  and  Curtaine,  and  any  blind  play- 
ing house  euerie  day' ;  Beaumont  and  Fletcher,  Wit  Without  Money 
{Wks.  4.  176)  :  'Break  in  at  plays,  like  'prentices,  For  three  a  groat, 
and  crack  nuts  with  the  scholars  In  penny-rooms  again' ;  Middle- 
ton,  Father  Hubbard's  Tales  {Wks.  8.64):  'A  dull  audience  of 
stinkards  sitting  in  the  penny-galleries  of  a  theatre.' 

See  Overbury,  Characters  (p.  154)  :  'If  he  have  but  twelve-pence 
in  his  purse  he  will  give  it  for  the  best  room  in  a  play-house' ;  Mars- 
ton,  Malcontent  (Ind.,  Wks.  1.202)  :  'But  I  say,  any  man  that  hath 
wit  may  censure,  if  he  sit  in  the  twelve-penny  room.'  See  also  Hen. 
VHI  (Prol.  11.  1 1-4);  and  Dekker,  Guls  Horne-booke  {Pr.  Wks. 
2.203). 

At  first  performances,  and  on  benefit-nights  of  the  authors,  the 
prices  seem  to  have  been  doubled.  See  Symonds  (p.  288)  ;  Malone 
(3.164);  Rye  (p.  88);  and  Lawrence  (p.  11).  The  fact  that  it 
was  a  first  performance  is  supposed  partly  to  account  for  the  high 
prices  mentioned  in  the  Induction  to  Earth.  Fair  4.  347 :  'It  shall  be 
lawful  for  any  man  to  judge  his  six-pen'  worth,  his  twelve-pen' 
worth,  so  to  his  eighteen-pence,  two  shillings,  half  a  crown,  to  the 
value  of  his  place.'  Prices  of  admission,  however,  were  advancing 
at  this  time  (1614)  :  Beaumont  and  Fletcher,  Wit  Without  Money 
{Wks.  4.107)  :  'Who  extoU'd  you  in  the  half  crown  boxes.'  See 
also  Habington,  Queen  of  Arragon  (Prol.  9-339,  Dodsley,  1825); 
Mayne,  City  Match  (Epil.  9.330,  Dodsley,  1825). 

A  stool  on  the  stage  brought  six  pence,  later  a  shilling:  Cynthia's 
Revels  2.210: 

'S  Child.    A  stool,  boy ! 

2  Child.    Ay,  sir,  if  you'll  give  me  sixpence  I'll  fetch  you  one.' 

See  Middleton,  Roaring  Girl  {Wks.  4.37):  'The  private  stage's 
audience,  the  twelvepenny-stool  gentlemen.'  See  also  Dekker,  Guls 
Horne-booke  {Pr.  Wks.  2.249);  and  Marston,  Malcontent  {Wks. 
I.  200). 

The  following  deal  with  the  subject:  Traill  (5.69);  Ordish, 
Theatres  (pp.  66-7);  Baker  (p.  19);  Thornbury  (2.8);  Malone 
(3-73-8);   and  Collier  (3-14^57.  342)- 


io6  The  Cafe  is  Alterd  [Act  i 

1. 1. 104-5.  The  nominative  of  a  pronoun  was  often  repeated  for 
the  sake  of  emphasis  (Franz  298;    Matzner  2. 16). 

1. 1. 105-6.  let  me  haue  a  good  ground.  Referring,  of  course, 
to  the  pit  at  the  theatres.  It  was  somewhat  below  the  level  of  the 
stage,  and  was  frequented  chiefly  by  the  lower  classes,  who  stood 
throughout  the  performance  (cf.  Nares,  and  Collier,  Hist.  Dram. 
Poetry  3.335).  Because  of  their  position,  Jonson  refers  to  these 
as  'The  understanding  gentlemen  o'  the  ground'  (Barth.  Fair  4.  346), 
and  'deep-grounded  understanding  men'  (Underwoods  8.336). 
Later  in  our  play,  he  speaks  of  their  'grounded  judgments'  and 
'grounded  capacities'  (2.7.74-6);  cf.  Barth.  Fair  4.346,  347; 
Cynthia's  Revels  2.  214.  It  will  be  remembered  that  the  frequenters 
of  the  pit  were  known  as  'groundlings';  ci.  Hamlet  3.  2. 12;  Dekker, 
Guls  Home -book  e  (Pr.  Wks.  2.247). 

1. 1.  log-io.  dumb  shew.  The  earlier  dumb-shows  usually  gave, 
without  speech,  a  representation  of  the  events  of  the  following 
act.  As  the  dramatic  value  of  the  dumb-show  became  better  under- 
stood, it  was  accompanied  by  a  'chorus,'  or  interpreter,  who  either 
commented  on  the  play,  or  explained  portions  that  had  been  omitted. 
Later,  members  of  the  dumb-show  were  assigned  spoken  parts. 
The  following  plays  may  be  cited  as  examples:  Gorboduc  (1562); 
Gascoigne,  Jocasta  (1566)  ;  Kyd,  Spanish  Tragedy  (1586)  ;  Hughes, 
Misfortunes  of  Arthur  (1587);  Peele,  Battle  of  Alcazar  (1591)  ; 
Heywood,  Four  Prentices  of  London  (1594)  ;  Warning  for  Fair 
Women  (1S98)  ;  Gismond  of  Salerne  (1568)  ;  Marston,  What  you 
Will  (1601);  Dekker,  Whore  of  Babylon  (1604);  Beaumont  and 
Fletcher,  Triumph  of  Love  (1608)  ;  and  Webster,  Duchess  of  Malfi 
(1617).  Cf.  Shakespeare's  treatment  of  the  dumb-show:  Hamlet 
3.  2. 146  ff. ;   Pericles,  Acts  2,  3,  4. 4. 

See  the  following  references :  Dekker,  Guls  Horne-booke  {Pr. 
Wks.  2.  214)  :  'You  haue  heard  all  this  while  nothing  but  the  Pro- 
logue, and  scene  no  more  but  a  dumbe  shew' ;  M.  of  Venice  i.  2.  77-9: 
'He  is  a  proper  man's  picture,  but,  alas,  who  can  converse  with  a 
dumb-show';  Much  Ado  2.2- 22S-6',  T.  Andron.  3.1. 131-2;  Hamlet 
3.2. 12-4;  Greville,  Sidney  (1652,  p.  77)  :  'Both  stood  still  a  while, 
like  a  dumb  shew  in  a  tragedy';  Taylor,  The  Hog  hath  lost  his 
Pearl  (11.464,  Dodsley,  1875):  'Why,  page,  I  say!  'Sfoot,  he  is 
vanished  as  suddenly  as  a  dumb  show.' 

For  a  comprehensive  article,  see  Foster,  'The  Dumb  Show  in 
Elizabethan  Drama  before  1620'  (Englische  Studien  44.  8-17).  See 
also  Cunliffe,  'Italian  Prototypes  of  the  Masque  and  Dumb  Show' 
(Pub.  Mod.  Lang.  Association  22.  140-56). 

1. 1. 120.  The  omission  of  the  subject  of  shall  may  have  been  an 
error.    However,  the  nominative  was  sometimes  omitted  where  its 


Act  i]  Notes  107 

identity  was  clear.  See  5.  3.  54 :  'Now  will  gull'  (Abbott  400,  402 ; 
Franz  306 ;   Matzner  2.  27-30) . 

1. 1. 122.  setting  vp  of  a  rest.  In  primero,  the  'rest'  was  'the 
stakes  kept  in  reserve,  which  were  agreed  upon  at  the  beginning 
of  the  game,  and  upon  the  loss  of  which  the  game  terminated;  the 
venture  of  such  stakes.' — N.  E.  D.  The  phrase  to  set  up  one's  rest 
meant  to  venture  one's  final  stake  or  reserve:  Gascoigne,  Supposes 
{Belles-Lettres,  ed.  Cunliife,  p.  50)  :  'This  amorous  cause  that 
hangeth  in  controversie  betwene  Domine  Doctor  and  me,  may  be 
compared  to  them  that  play  at  primero:  of  whom  some  one  perad- 
venture  shal  leese  a  great  sum  of  money  before  he  win  one  stake, 
and  at  last  halfe  in  anger  shal  set  up  his  rest:   and  win  it.' 

Figuratively,  the  expression  had  several  meanings.  One  of  these 
was  'to  take  up  one's  permanent  abode,'  with  an  allusion  to  'rest' 
meaning  'repose.'  This  is  its  import  in  our  text.  It  is  used  with 
this  sense  in  The  New  Inn  5.  309 :  'We  have  set  our  rest  up  here, 
sir,  in  your  Heart'  Romeo,  about  to  take  the  poison  in  Juliet's 
tomb,  exclaims,  'O,  here  Will  I  set  up  my  everlasting  rest'  (Rom. 
and  Jul.  5.  3.  no).  See  also  Lodge,  Rosalynde  (Wks.  i.  50)  :  'Aliena 
resolued  there  to  set  vp  her  rest,  and  by  the  helpe  of  Coridon  swept 
a  bargane  with  his  Landlord,  and  so  became  Mistres  of  the  farme 
&  the  fiocke.'    Cf.  Lear  1. 1. 125;    and  Every  Man  Out  2.  195. 

Another  meaning  of  the  phrase  was  'to  stake  or  venture  one's 
all  upon  something' :  Greene,  Penelope's  Web  ( Wks.  5. 181 )  : 
'Least  ayming  more  at  ye  weale  of  our  countrey  then  our  own  Hues, 
we  set  our  rest  on  the  hazard  and  so  desperately  throw  at  all.' 
Also,  'to  be  resolved  or  determined':  M.  of  Venice  2.2.110:  'I 
have  set  up  my  rest  to  run  away.'  See  Com.  of  Errors  4.  3. 27 ;  and 
cf.  Tale  of  a  Tub  6. 135.  In  the  play  just  mentioned  (p.  159),  the 
expression  means  also,  'to  settle  upon'  or  'decide  for' :  'Arrested, 
As  I  had  set  my  rest  up  for  a  wife.' 

For  further  discussion  and  additional  examples,  see  Nares,  and 
Notes  and  Queries  (10.6.509;    7.  53,  54,  I7S). 

1. 1. 124.  Your  friend  as  you  may  vse  him.  Cf.  Sir  Andrew's 
challenge  to  the  masquerading  Viola  in  T.  Night  3.  4.  186-7 :  'Thy 
friend,  as  thou  usest  him,  and  thy  sworn  enemy.' 

1. 1. 126-7.  put  off  this  Lyons  hide,  your  eares  haue  discouered 
you.  A  reference,  of  course,  to  the  familiar  fable  of  ^sop.  See 
Greene,  Mamillia  {Wks.  2. 156)  :  'Like  ^sops  asse  they  clad  them- 
selues  in  a  Lions  skinne,  yet  their  eares  wil  bewray  what  they  be.' 
Also  Chapman,  Bussy  D'Ambois  (Wks.  2.  19)  ;    K.  John  2.  1. 144. 

1. 1. 131.  After  the  recognition,  notice  the  change  from  you  to 
the  more  friendly  and  intimate  thou.  See  Abbott  231-4;  Franz 
289-289  h. 


io8  The  Cafe  is  Alterd  [Act  i 

1. 1. 131-2.  altred  with  thy  trauell.  Foreign  travel  was  much  in 
vogue.  The  accounts  of  navigators  and  explorers,  first  published 
separately,  and  then  collected  by  Hakluyt  in  his  Prhicipall  Naviga- 
tions (1589,  1598-1600),  created  a  great  deal  of  interest  in  this  kind 
of  travel.  There  were  accounts  also  of  land-travel.  In  1547  Boorde 
published  the  Fyrste  Boke  of  the  Introduction  of  Knowledge, 
describing  his  journeys  on  the  Continent.  Johnson  brought  out  a 
translation  from  many  sources,  the  Travellers  Breviat  (1601). 
Coryat  made  a  walking-tour  through  France,  Italy,  and  Germany  in 
1608,  which  was  described  in  his  Crudities  (1611),  and  for  which 
Jonson  wrote  a  humorous  character-sketch  of  the  author.  Sandys, 
in  the  Relation  of  a  Journey  (1615),  gave  an  account  of  his  travels 
in  Turkey,  Egypt,  the  Holy  Land,  and  Italy.  Lithgow,  a  Scotch 
traveler,  claimed  he  had  journeyed  36,000  miles  on  foot.  His  travels 
are  described  in  Rare  Adventures  and  Paineful  Peregrinations 
(1632).  A  work  condemning  travel  was  published  by  Hall:  Quo 
Vadis?  A  Just  Censure  of  Travell  (1617).  Brome's  play,  The 
Antipodes,  represented  the  manner  in  which  a  young  man  was  cured 
of  a  madness  brought  on  by  reading  too  much  about  travels  and 
voyages. 

Another  form  of  travel  was  for  educational  purposes.  It  became 
quite  the  fashion  for  the  sons  of  noblemen  to  travel  on  the  Con- 
tinent, generally  with  a  tutor.  Of  the  custom  of  going  to  Italy, 
Ascham  says  {Schoolmaster,  p.  71,  ed.  Arber)  :  'I  take  goyng  thither, 
and  lining  there,  for  a  yonge  ientleman,  that  doth  not  goe  vnder  the 
keepe  and  garde  of  such  a  man,  as  both,  by  wisdome  can,  and 
authoritie  dare  rewle  him,  to  be  meruelous  dangerous.'  Cf.  Har- 
rison's remark  on  the  same  subject  (Fumivall,  p.  81)  :  'One  thing 
onlie  I  mislike  in  them  [the  students],  and  that  is  their  usuall 
going  into  Italic,  from  whense  verie  few  without  speciall  grace  doo 
returne  good  men,  whatsoeuer  they  pretend  of  conference  or 
practise.' 

Of  travel,  when  not  abused,  Bacon  writes  (Essays,  'Travel')  : 
'Travel,  in  the  younger  sort,  is  a  part  of  education ;  in  the  elder, 
a  part  of  experience.'  And  Shakespeare  remarks  (7".  G.  of  Verona 
1. 1. 2)  :    'Home-keeping  youth  have  ever  homely  wits.' 

But  the  practice  was  overdone.  Cf.  Drake  (p.  421)  :  'To  such  a 
height  had  this  fashion  for  travelling  attained,  that  those  who 
were  not  able  to  accomplish  a  distant  expedition,  crossed  to  France 
or  to  Italy,  and  gave  themselves  as  many  airs  on  their  return,  as  if 
they  had  been  to  the  antipodes';  Gosson  (p.  34)  :  'We  haue  robbed 
Greece  of  Gluttonie,  Italy  of  wantonnesse,  Spaine  of  pride,  Fraunce 
of  deceite,  and  Dutchland  of  quaffing.'    Bacon's  sane  remarks  on  the 


Act  i]  Notes  109 

subject  are  worth  quoting  {Essays,  'Travel')  :  'When  a  traveller 
returneth  home,  ...  let  his  travel  appear  rather  in  his  discourse 
than  in  his  apparel  or  gesture ;  and  in  his  discourse  let  him  be  rather 
advised  in  his  answ^ers,  than  forward  to  tell  stories;  and  let  it 
appear  that  he  doth  not  change  his  country  manners  for  those  of 
foreign  parts ;  but  only  prick  in  some  flowers  of  that  he  hath 
learned  abroad  into  the  customs  of  his  own  country.' 

See  note  to  Ellis,  Original  Letters  (4. 46,  London,  1846)  :  'In 
Queen  Elizabeth's  time,  leave  to  go  abroad  for  the  purpose  of  travell- 
ing was  difficult  to  obtain.  Lord  Burghley,  too,  when  application 
for  such  permissions  were  made,  would  frequently  call  the  party 
before  him,  and  examine  into  what  the  applicant  knew  of  his  own 
country;  and  if  found  deficient  in  that  knowledge  would  advise  him 
to  stay  at  home  for  the  present.'  A  copy  of  'Queen  Elizabeth's 
Letter  of  Recall  for  those  who  had  gone  abroad  without  her  leave* 
accompanies  the  note. 

In  our  text,  Onion  calls  Valentine  a  'lying  traueller'  (4.3.12). 
See  Tempest  3.  3.  26 :  'Travellers  ne'er  do  lie,  Though  fools  at  home 
condemn  'em';  Dekker,  Seuen  Deadly  Sinnes  (Pr.  Wks.  2.35): 
'Thou  art  no  Traueler;  the  habit  of  Lying  therefore  will  not  Become 
thee,  cast  it  off';  Old  Fortunatus  (IVks.  1. 117).  Cf.  Chapman, 
Monsieur  D'Olive  {Wks.  1. 195)  ;  Donne,  Letters  {Wks.  6.318,  ed. 
Alf ord,  London,  1839) .  Traveling  influenced  apparel :  Every  Man 
Out  2.58: 

'Punt.    Then  he  has  travelled?    ... 

Car.  As  far  as  Paris,  to  fetch  over  a  fashion,  and  come  back 
again.' 

Hen.  VIII  1. 3. 31 :  'Tall  stockings.  Short  blister'd  breeches,  and 
those  types  of  travel';  As  You  Like  It  4.  i.  33:  'Farewell,  Monsieur 
Traveller :  look  you  lisp  and  wear  strange  suits.'  In  our  text.  Juni- 
per remarks:  'A  man  is  nobody,  till  he  has  trauelled'  (2.7.34-5). 
See  Nashe,  Vnfortunate  Traveller  {Wks.  2.  297)  :  'Hee  is  no  bodie 
that  hath  not  traueld' ;  Beaumont  and  Fletcher,  Wild  Goose  Chase 
{Wks.  8.  121)  :  'Till  we  are  travell'd,  and  live  abroad,  we  are  cox- 
combs.' Some  travelers  assumed  a  solemn  pose :  Marston,  Ant.  and 
Mell.,  Pt.  I  {Wks.  1. 12,  Ind.)  :  'As  solemn  as  a  traveller';  Marston, 
Satires  {Wks.  3.274)  :  'With  what  a  discontented  grace  Bruto  the 
traveller  doth  sadly  pace' ;  As  You  Like  It  4.  i.  21 :  'A  Traveller ! 
By  my  faith  you  have  great  reason  to  be  sad :  I  fear  you  have  sold 
your  own  lands  to  see  other  men's.'  Traveling  encouraged  decep- 
tion: Nashe,  Pierce  Penilesse  {Wks.  1.220):  'These  [evil  prac- 
tices], and  a  thousand  more  such  sleights,  hath  hypocrisie  learned 


no  The  Cafe  is  Alterd  [Act  i 

by  trauailing  strange  Countries' ;  cf .  Carlo  Buffone's  advice  to 
Sogliardo  {Every  Man  Out  2.  107)  :  'You  must  be  impudent  enough, 
sit  down,  and  use  no  respect:  when  anything's  propounded  above 
your  capacity,  smile  at  it,  make  two  or  three  faces,  and  't  is  excellent ; 
they'll  think  you  have  travell'd.'  See  also  Every  Man  Out  2.  83, 105  ; 
Cynthia's  Revels  2.226,  240,  291,  319;  Volpone  3- 196,  202;  Demi  is 
an  Ass  5.23;  Masque  of  Augurs  7.413.  In  Puntarvolo  (Every  Man 
Out)  and  Amorphus  (Cynthia's  Revels),  Jonson  has  drawn  two 
characters  which  typify,  in  some  measure,  the  abuses  of  travel. 

Beside  Hakluyt's  work,  a  compilation  of  travels  was  made  by 
Purchas:  Purchas  his  Pilgrimage  (1613),  and  Hakluytus  Posthumus 
(1625),  the  latter  being  a  work  made  from  Hakluyt's  notes.  In  our 
own  day,  Harrisse  (1830-1909)  has  done  the  same  for  voyages  (chiefly 
American)  taken  during  the  15th  and  i6th  centuries.  For  the  i6th 
and  17th  centuries,  we  have  Arber's  English  Garner  (London,  1877- 
1890),  a  work  which  Beazley  has  used  as  the  basis  for  a  new  edition 
under  the  same  title  (N.  Y.,  1903).  The  Travels  of  Sir  John  Mande- 
ville,  printed  in  1499  by  Wynkyn  de  Worde,  was  popular  in  Jonson's 
day.  It  purports,  as  every  one  knows,  to  be  the  record  of  a  journey 
to  thd  far  East. 

A  good  bibliography  of  sea-faring  and  travel  is  to  be  found  in 
the  Cambridge  Hist.  Eng.  Lit.  (4.  518).  See  also  Howard,  English 
Travellers  of  the  Renaissance  (London,  New  York,  and  Toronto, 

1914). 

1. 1. 144-5.  AH  creatures  here  soiorning,  etc.  If  this  is  a  quota- 
tion, its  source  has  remained  undiscovered.  A  possible  source  may 
be  in  Chettle,  Kind-hart's  Dreame  (i593,  p.  65)  :  'But  indeede  there 
is  a  time  of  mirth,  and  a  time  of  mourning.'  Professor  Cook  sug- 
gested Ecclesiastes  3.  i,  4 :  'To  everything  there  is  a  season,  and  a 
time  to  every  purpose  under  the  heaven:  ...  a  time  to  weep, 
and  a  time  to  laugh ;   a  time  to  mourn,  and  a  time  to  dance.' 

The  same  sentiment  is  expressed  by  Chapman,  Bussy  D'Ambois 
(Wks.  2.61);  and  Beaumont  and  Fletcher,  Wild  Goose  Chase 
(Wks.  8.144-5). 

1. 1. 151-3.  tomorrow  shall  be  three  months,  she  was  seene 
going  to  heauen  they  say,  about  some  fiue  weekes  agone.  Cf. 
Every  Man  In  i.  64:  'I  was  thinking  of  a  most  honourable  piece  of 
service,  was  performed  to-morrow,  being  St.  Mark's  day,  shall  be 
some  ten  years,  now' ;  ib.  i.  83 :  'Here's  the  remainder  of  seven 
pound  since  yesterday  was  seven-night';  Alchemist  4.154:  'I  heard 
it  too,  just  this  day  three  weeks,  at  two  o'clock  next  morning'; 
Staple  of  News  5. 179 :    'His  father  died  on  this  day  seven-night. 


Act  i]  Notes  m 

.  .  .  At  six  o'  the  clock  in  the  morning,  just  a  week  Ere  he  was 
one  and  twenty.'    Cf .  M.  of  Venice  2.  5. 25. 

1. 1. 156.  I  haue  done  but  the  parte  of  an  Onion.  The  associa- 
tion of  tears  with  an  onion  is  very  old.  The  Greek  word  for  onion 
i?  Kp6fifivov,  so  called,  because  it  caused  the  eyes  to  close  (/copas 
avfifiveiv) .  See  Aristophanes,  Frogs  654:  AI.  T/  djjra  /cXat«s;  AI. 
Kpofifivwv  6a<f>palvofjiai.  In  Diogenes  Laertius  i.  83,  Bias  is  requested 
to  visit  King  Alyattes.  His  reply  is :  AXvdrT^  KeXevu  Kpo/ifiva 
iaOieiv,    (laov  rw  KXaUiv). 

Columella,  De  Cultu  Hortorum  123,  speaks  of  'lacrymosa  cepa.' 
Lucilius,  Sat.  Rel.  L.  5,  has :  'Flebile  cepe  simul  lacrimosaeque 
ordine  talae' ;  and  Pliny,  Hist.  Nat.  19. 6 :  'Omnibus  [cepis]  etiam 
odor  lacrymosus.' 

Shakespeare  has  several  examples  :  All's  Well  5. 3. 321 :  'Mine  eyes 
smell  onions;  I  shall  weep  anon';  Ant.  and  Cleo.  1.2. 176:  'The 
tears  live  in  an  onion  that  shall  water  this  sorrow' ;  cf .  ih.  4. 2.  35, 
and  T.  of  Shrew  i.  126,  Ind.  See  also  Harvey,  New  Letter  (Wks. 
1. 292)  :  'I  pray  God,  the  promised  Teares  of  Repentance,  proue  not 
the  Teares  of  the  Onion  vpon  the  Theater.'  The  A^.  E.  D.  quotes 
from  Farquhar,  Stage  Coach  (1.23),  and  Johnstone,  Reverie  (1.243, 
London,  1763).  Another  reference  was  made  by  Jonson  in  the 
Vision  of  Delight  7.  288. 

1.2.6-7.  I  am  no  changling,  I  am  luniper  still.  Cf.  Barth. 
Fair  4.  374 :  'I  am  resolute  Bat,  i'  faith,  still' ;  Magnetic  Lady  6.  18 : 
'Your  ladyship  is  still  the  lady  Loadstone' ;  Tale  of  a  Tub  6. 129 : 
'I  am  old  Rivet  still' ;  Masque  of  Christmas  7. 259 :  'I  am  old 
Gregory  Christmas  still' ;  Underwoods  8.  407 :  'He  is  right  Vulcan 
still.' 

1.2.7.  I  keepe  the  pristmate  [pristinate].  Whalley  says  this  is 
from  Terence.  He  probably  refers  to  Andria  817 :  'Pol  Crito 
antiquum  obtines';  cf.  Hecyra  860:  'Morem  antiquum  atque 
ingenium  obtines.' 

you  mad  Hieroglyphick.  See  Poetaster  2.  486 :  'Come,  I  love 
bully  Horace  as  well  as  thou  dost,  I :  't  is  an  honest  hieroglyphic' ; 
Cynthia's  Revels  2. 233 :  'It  is  a  relic  I  could  not  so  easily  have 
departed  with,  but  as  the  hieroglyphic  of  my  affection.'  Cf.  Dekker, 
Guls  Horne-booke  (Nott,  p.  29)  ;  and  Old  Fortunatus  {Wks.  1. 163). 

1. 2. 15-6.  Foe  humour,  a  foolish  naturall  gift  we  haue  in  the 
.Squinoctiall.    Cf .  Every  Man  In  i.  78 : 

'Cob.  Humour!  .  .  .  What  is  that  humour?  some  rare  thing, 
I  warrant. 


112  The  Cafe  is  Alterd  [Act  i 

Cash.  Marry  I'll  tell  thee,  Cob :  it  is  a  gentleman-like  monster, 
bred  in  the  special  gallantry  of  our  time,  by  affectation;  and  fed 
by  folly.' 

1. 2. 19.  What  fortuna  de  la  Guerra.  The  Italian  and  Spanish 
for  The  fortune  of  war.'  See  L.  L.  Lost  5.2.533-4:  'But  we  will 
put  it,  as  they  say,  to  fortuna  de  la  guerra.' 

The  use  of  this  expression  by  Juniper  is  probably  not  with  a 
serious  intent.  Considering  Valentine's  recent  return,  it  could  be 
construed  to  mean  something  like  our  'How  is  the  world  using  you,' 
in  which  case,  the  comma  inserted  by  Gifford  after  What,  would 
be  superfluous.  But  it  is  more  likely  that  Juniper  is  continuing  the 
flow  of  high-sounding  words  to  which  Valentine  has  already  taken 
exception. 

1. 2. 20-1.  O  how  pittifuUy  are  these  words  forc't.  As  though 
they  were  pumpt  out  on's  belly.  Cf .  Every  Man  In  1.  35 :  'He  has 
not  so  much  as  a  good  phrase  in  his  belly,  but  all  old  iron,  and  rusty 
proverbs.'  In  this  connection,  one  is  reminded  of  the  fate  of  Cris- 
pinus   (Poetaster  2.  4gg-5oi). 

1. 2. 27-8.  Goodwine  sands.  'Dangerous  shoals  about  5  miles 
east  of  Kent,  England,  from  which  they  are  separated  by  the 
Downs.' — C.  D.  'Goodwin  Sands  consisted  at  one  time  of  about 
4,000  acres  of  low  land  fenced  from  the  sea  by  a  wall,  belonging 
to  Earl  Goodwin  or  Godwin.  William  the  Conqueror  bestowed 
them  on  the  abbey  of  St.  Augustine,  at  Canterbury,  and  the  abbot 
allowed  the  sea-wall  to  fall  into  a  dilapidated  state,  so  that  the 
sea  broke  through  in  iioo  and  inundated  the  whole'  (Brewer,  Diet., 
P-  355).  Regarding  this  catastrophe.  Stow  (Annates,  p.  134)  says: 
'This  yeere  (iioo)  as  well  in  Scotland  as  in  England,  on  the  third 
day  of  November,  the  sea  brake  in  ouer  the  bankes  of  the  Thames 
and  other  Riuers,  drowning  many  Townes,  and  much  people,  with 
innumerable  numbers  of  Oxen  and  Sheepe  :  at  which  time,  the  Lands 
in  Kent,  that  sometime  belonged  to  Duke  Godwine,  Earle  of  Kent, 
were  couered  with  sands  and  drowned,  which  are  to  this  day  called 
Goodwyne  Sands.' 

Goodwin  Sands  is  the  subject  of  several  proverbs:  'To  set  up 
shop  on  Goodwin  Sands'  meant  to  be  shipwrecked  (Hazlitt,  Prov., 
1869,  p.  430)  ;  cf.  Lotteries  of  1567  (Loseiey  Manuscripts,  London, 
1836,  p.  211,  ed.  Kempe)  : 

Of  many  people  it  hath  ben  said. 

That  Tenterden  steeple  Sandwich  haven  hath  decayed. 

Ray  (Prov.,  1818,  p.  144)  has  it:    'Tenterden  (Tottenden)  steeple's 
the  cause  of  Goodwin   Sands.'     He  adds :    'This  proverb  is  used 


Act  i]  Notes  113 

when  an  absurd  and  ridiculous  reason  is  given  of  anything  in 
question.' 

An  interesting  explanation  of  the  origin  of  Goodwin  Sands  is 
given  in  Hazlitt,  Prov.  (1907,  p.  503;  1869,  p.  438)  ;  and  in  Grose 
(p.  185).  The  explanation  has  two  parts.  The  first  is  to  explain 
the  proverb  quoted  above  from  Ray,  and  is  from  Latimer,  Select 
Sermons  {Library  of  Old  English  Prose  Writers  7.  57,  ed.  Young, 
Boston,  1832).  The  second  is  supplementary,  and  was  made  by 
Fuller,  Worthies  (2.65,  London,  1662).  An  abbreviated  account  is 
to  be  found  in  Brewer  (p.  882)  :  'The  reason  alleged  is  not  obvious; 
an  apparent  non-sequitur.  Mr.  More,  being  sent  with  a  commission 
into  Kent  to  ascertain  the  cause  of  the  Goodwin  Sands,  called 
together  the  oldest  inhabitants  to  ask  their  opinion.  A  very  old  man 
said,  "I  believe  that  Tenterden  steeple  is  the  cause"  [Latimer]. 
This  reason  seemed  ridiculous  enough,  but  the  fact  is  the  bishop  of 
Rochester  applied  the  revenues  for  keeping  clear  the  Sandwich  haven 
to  the  building  of  Tenterden  steeple  [Fuller].  Another  tradition  is 
that  a  quantity  of  stones,  got  together  for  the  purpose  of  strengthen- 
ing the  sea-wall,  were  employed  in  building  the  church-tower,  and 
when  the  next  storm  came,  that  part  of  the  mainland  called  Good- 
win Sands  was  submerged.' 

This  is  the  place  where  one  of  Antonio's  ships  is  reported 
wrecked  (M.  of  Venice  3.1.4).  See  also  K.  John  5. 3. 9-11,  and 
ib.  5.  5. 12-3 : 

And  your  supply,  which  you  have  wish'd  so  long. 
Are  cast  away  and  sunk  on  Goodwin  Sands. 

See  Jack  Drum's  Entertainment  (Simpson,  Sch.  of  Shak.  2. 141)  : 
'He  is  a  Quick-sand;  a  Goodwin;  a  Gulfe';  Appius  and  Virginia 
(4. 129,  Dodsley,  1874)  :  'And  sailing  by  Sandwich  he  sank  for  his 
sin.' 

I.  2.  33-4.  a  pattern  not  to  be  sicke.  At  that  time,  all  privileges, 
rights,  or  offices  were  conferred  by  a  document  known  as  a  'patent.' 
Regarding  this  practice,  Nares  says  {s.  v.  Patent)  :  'One  of  the 
great  oppressions  complained  of  under  Elizabeth,  James,  and  Charles 
I,  was  the  granting  of  patents  of  monopoly.  James,  of  his  own 
accord,  called  in  and  annulled  all  the  numerous  patents  of  this 
kind,  which  had  been  granted  by  his  predecessors ;  and  an  act  was 
passed  against  them  in  1624.  But  they  were  imprudently  revived 
by  Charles  in  1631.'  See  Every  Man  Out  2.97:  'I  can  write  myself 
gentleman  now ;  here's  my  patent,  it  cost  me  thirty  pound' ;  Hen. 
VIII  3.2.249:    'And,  to  confirm  his  goodness,  Tied  it  by  letters- 


114  The  Cafe  is  Alterd  [Act  i 

pattents.'  For  other  references,  see  Pan's  Anniversary  7.335; 
Richard  II  2.1.202;  2.3.130;  Ford,  Lover's  Melancholy  (IVks. 
1. 19)  ;  Jack  Drum's  Entertainment  (Simpson,  Sch.  of  Shak.  2. 151). 

1.3.1.  Omission  of  thou  before  dost  (Franz  306;  Matzner  2.28; 
Abbott  241). 

1.3.6.  Alia  Coragio.  Florio  has  this  to  say  of  the  use  of  alia: 
'Being  ioined  to  any  noune  it  makes  the  same  an  aduerbe  of  quahty 
or  similitude.' 

1.3.  II.  Signior  Francesco  Colomia's  man  how  doo's  your 
good  maister.  Cf.  Every  Man  In  1.83  (also  85)  :  'Master  Kitely's 
man,  pray  thee  vouchsafe  us  the  lighting  of  this  match';  ib.  1. 109: 
'Mr.  Knowell's  man' ;  New  Inn  5.  382 :  'Countess  Pinnacia's  man' ; 
Tale  of  a  Tub  6.148:  'High  constable's  hind';  ib.  6.172  (cf.  173. 
174)  :   'Turfe's  wife,  rebuke  him  not' 

1. 3.  24.  The  preposition  was  sometimes  placed  at  the  end  of  a 
sentence  (Abbott  424). 

1.3.25-6.  the  French  .  .  .  meane  to  haue  a  fling  at  Mil- 
laine.  The  pretext  for  the  ambitions  of  France  in  Italy  rested  on 
her  claims  to  Naples  and  Milan  by  right  of  inheritance.  In  1264 
Naples  was  given  in  fief  to  Charles,  Count  of  Provence  and  Anjou, 
by  Urban  IV,  and  taken  by  him  in  1266  by  force  of  arms.  As  to 
Milan,  Valentina  Visconti,  widow  of  Louis,  Duke  of  Orleans 
(brother  of  Charles  VI),  had  been  the  last  to  inherit  that  duchy. 
See  Guicciardini  (1.35,  75;  2.194,  I95,  206),  and  Cambridge  Mod. 
Hist.  (i.  108). 

The  Sforzas  seized  Milan  in  1450,  but  in  1500  it  was  taken  from 
Lodovico  by  Louis  XII.  For  the  next  15  years,  France  retained 
Milan,  using  it  as  her  headquarters  in  the  campaigns  against  Venice 
and  other  states.  Later  in  our  play  (i.  5. 181  flf.),  an  allusion  is 
made  to  an  incident  in  one  of  these.  Cf.  Encycl.  Brit.,  nth  ed.  {s.  v. 
Milan). 

1.3.28.  Transposition  of  verb  and  subject  after  an  emphatic 
word  (Abbott  425;   Franz  682). 

1.3.30.  Maximilian  of  Vicenza.  Maximilian  I  (1459-IS19) 
figured  prominently  in  Italian  affairs,  but  the  Maximilian  of  the 
play  is  not  the  Emperor. 

Vicenza.  A  town  in  Italy,  the  episcopal  see  of  Venetia,  and  the 
capital  of  the  province  of  Vicenza.  It  is  42  miles  west  of  Venice 
by  rail.  For  some  time  during  the  Middle  Ages,  Vicenza  was  an 
independent  republic,  but  in  1405  it  was  subdued  by  the  Venetians. 
Cf.  Encycl.  Brit,  (nth  ed.). 

i'3'32-5.  Cf.  Every  Man  In  1.83:  'E.  Know.  Justice  Clement, 
what's  he? 


Act  i]  Notes  115 

Wei.  Why,  dost  thou  not  know  him?  He  is  a  city-magistrate, 
a  justice  here,  an  excellent  good  lawyer,  and  a  great  scholar;  but 
the  only  mad,  merry  old  fellow  in  Europe.' 

Excellent,  an  adjective  used  as  an  adverb  (Matzner  3.90;  Abbott 
I ;   Franz  241 ) . 

1. 3.  43.  mad  Capriccio.  In  a  pamphlet  directed  against  Nashe, 
Harvey  says  {Wks.  2.  109)  :  'Sir  Skelton  and  Master  Scroggin  were 
but  Innocents  to  Signior  Capricio,  and  Monsieur  Madness.'  Cf. 
Poetaster  (2. 428)  where  Pantalabus  has  been  substituted  for 
Caprichio,  the  reading  of  the  quarto  of  1602. 

hold  hooke  and  line.  A  cant  expression  which  probably  had  its 
origin  from  the  sport  of  fishing.  See  Chaucer,  Troilus  S.  777 :  'To 
fisshen  her,  he  leyde  out  hook  and  line' ;  Mascall,  A  hooke  of  Fish- 
ing with  Hooke  &  Line  (1590).  Figuratively,  the  expression 
meant,  'That  by  which  any  one  is  attracted  or  ensnared  and 
caught.' — N.  E.  D.  See  Lydgate,  Bochas  (i5S4)  6.1. 146:  'Marius 
layd  out  hoke  and  lyne  As  I  haue  told,  Metellus  to  confound.'  The 
expression  is  used  by  Pistol,  together  with  several  bombastic  phrases 
taken  from  plays  of  the  period  {2  Hen.  IV  2.4. 171-2).  After  com- 
menting on  this,  Steevens  (Shak.  9.251)  quotes  a  couplet  which  he 
says  was  the  frontispiece  of  an  old  ballad  ('Royal  Recreation  of 
Joviall  Anglers')  : 

Hold  hooke  and  line. 

Then  all  is  mine. 

Cf.  Dekker,  Honest  Whore,  Pt.  2  (Wks.  2. 138)  :  'He  giue  him 
hooke  and  line,  a  little  more  for  all  this';  Tusser,  Husbandry  (ed. 
Mavor,  p.  24)  : 

At  noon  if  it  bloweth,  at  night  if  it  shine. 

Out  trudgeth  Hew  Make-shift,  with  hook  and  with  line. 

The  editor's  comment  is :  'The  hook  and  line  is  a  cord  with  a  hook 
at  its  end  to  bind  up  any  thing  with,  and  carry  it  away.' 

1.4.  4.  The  to  was  sometimes  omitted  before  the  infinitive  (Franz 
650;   Matzner  3.  i ;   Abbott  349). 

1. 4.  7.  The  was  often  elided  before  a  vowel  in  reading,  though 
not  in  writing  (Abbott  462). 

I.  4. 8.  I  do  this  against  my  Genius.  See  Tylor,  Primitive  Cul- 
ture (1871,  2. 184)  :  'In  the  Roman  world,  .  .  .  each  man  had 
his  "genius  natalis,"  associated  with  him  from  birth  to  death, 
influencing  his  action  and  his  fate,  standing  represented  by  its  proper 
image,  as  a  lar  among  the  household  gods.  .  .  .  The  demon  or 
genius  was,  as  it  were,  the  man's  companion  soul,  a  second  spiritual 
ego.' 


ii6  The  Cafe  is  Alter d  [Act  i 

Cf.  Horace,  Epist.  2.  2.  187  : 

Genius,  natale  comes  qui  temperat  astrum, 
Naturae  deus  humanae,  mortalis  in  unum 
Quodque  caput,  voltu  mutabilis,  albus  et  ater. 

Censorinus,  De  Die  Natali  3.  16 :  'Genius  est  deus,  cuius  in  tutela, 
ut  quisque  natus  est,  vivit.  Hie  sive  quod  ut  genamur  curat,  sive 
quod  una  genitur  nobiscum,  sive  etiam  quod  nos  genitos  suscipit  ac 
tutatur,  certe  a  genendo  Genius  appellatur.'  For  others,  cf.  Tibullus 
2.2.5;  4.5.8;  Virgil,  Geon  1.302;  Horace,  £/)t>^  i.  7. 94;  2. 1. 144; 
Od.  3.  17. 14;  Persius  2.3;  Seneca,  Epist.  12.2;  Pliny,  Hist.  Nat. 
2.7;  Martianus  Cap.  2.152.  It  will  be  remembered  that  dai/iopiov 
was  the  name  by  which  Socrates  called  his  'genius.'  Cf.  Xenophon, 
Mem.  1. 1.2;    Plato,  Apol.  40  A;    Thecet.  151  A;   Euthyd.  272  E. 

See  Magnetic  Lady  6.69:  'An  infused  kind  of  valour,  Wrought 
in  us  by  our  genii,  or  good  spirits';  Every  Man  Out  2.  51 ;  Epicane 
3.368.  Another  reference  occurs  later  in  our  play  (1.5.238).  Cf. 
Com.  of  Errors  5.  i.  332 ;  T.  Night  3.  4.  142 ;  Troi.  and  Cres.  4.  4.  52 ; 
/.  C<Bsar  2. 1.66;  2- '2. 185;  Macbeth  3. 1.56;  Ant.  and  Cleo.  2.3.  19; 
Greene,  Orlando  Furioso  {Wks.  13.128). 

Genius  is  a  trisyllable  (Abbott  479). 

1. 4. 9-20.  These  lines  are  found  in  Lamb's  Specimens.  His  pre- 
fatory comment  is,  'Presentiment  of  treachery  vanishing  at  the 
sight  of  the  person  suspected.' 

1. 4. 15-6.     His  actions  neuer  carried  any  face 
Of  change,  or  weaknes. 

Cf.  Every  Man  In  i.  72 : 

The  manner  he  hath  stood  with,  till  this  present, 
Doth  promise  no  such  change. 

1.4. 17.  Being  may  be  read  as  a  monosyllable.  This  is  the  usual 
reading  of  the  word  in  this  play  (Abbott  470). 

1.4. 18.  Scan  (Abbott  494,  456)  : 

O  here  |  he  comes.  | 

Ang.    How  now  |  sweet  Lord,  ]  whats  the  matter. 

1.4.20.     Scan   (Abbott  484,  508): 

Of  my  I  straid  thoughts.  |  Boy.  |  Bestow  |  your  selfe. 
1.4.22.     Scan  (Abbott  462,  468)  : 
Marry  in  |  the  gal  |  ery,  where  |  your  Lord  |  ship  left  him. 

1.4.25-8.     See  Every  Man  In  1.73: 


Act  i]  Notes  117 

Think  I  esteem  you,  Thomas, 
When  I  will  let  you  in  thus  to  my  private. 
It  is  a  thing  sits  nearer  to  my  crest, 
Than  thou  art  'ware  of. 

It  may  be  of  interest  to  note  a  similar  passage  in  Marston,  Eastward 
Hoe  ( Wks.  3.  57-8) ,  a  work  to  which  Jonson  contributed : 
I  must  now  impart 
To  your  approved  love,  a  loving  secret. 
As  one  on  whome  my  life  doth  more  relie 
In  friendly  trust  then  any  man  alive. 

I.  4.  30.  one,  whome  my  election  hath  design'd,  etc.  Cf .  Ham- 
let's conversation  with  Horatio  {Hamlet  3.  2. 68-70)  : 

Since  my  dear  soul  was  mistress  of  her  choice 
And  could  of  men  distinguish,  her  election 
Hath  seal'd  thee  for  herself. 

1.4. 31.    The  accent  falls  on  the   (Abbott  457):    'The  seems  to 
have  been  regarded  as  capable  of  more  emphasis  than  with  us.' 
1. 4. 32-3.    I  vrge  not  this  t'  insinuate  my  desert, 

Or  supple  your  tri'd  temper,  with  soft  phrases. 

Cf .  Every  Man  Out,  Prol.  2. 14 : 

I  do  not  this,  to  beg  your  patience, 
Or  servilely  to  fawn  on  your  applause. 

Insinuate  is  a  trisyllable  (Abbott  468)  :  'Any  unaccented  syllable 
of  a  polysyllable  (whether  containing  i  or  any  other  vowel)  may 
sometimes  be  softened  and  almost  ignored.' 

1. 4. 46.  Arguing  a  happy  mixture  of  our  soules.  Cf .  Devil  is 
an  Ass  5.  34 :    'To  seal  the  happy  mixture  made  of  our  souls.' 

Arguing  is  read  as  a  disyllabic.  Words  in  which  a  light  vowel  is 
preceded  by  a  heavy  vowel  or  diphthong  are  frequently  contracted 
(Abbott  470). 

1.4.48-50.     Cf.  Cynthia's  Revels  2.  S04: 

The  grace  divinest  Mercury  hath  done  me, 
In  this  vouchsafed  discovery  of  himself. 
Binds  my  observance  in  the  utmost  term 
Of  satisfaction  to  his  godly  will. 

Unmatched  for  matchless  (Franz  662). 
I.  4.  51.     Scan  (Abbott  462)  : 

How !  fa  I  uours  An  |  gello,  6  |  speake  not  |  of  them. 


ii8  The  Cafe  is  Alterd  [Act  i 

1. 4.  58-9.  Gifford  arranged  these  lines  in  the  form  of  prose.  But 
they  were  evidently  intended  for  verse,  as  Cunningham  points  out, 
and  as  Whalley  had  written  them.  Both  Whalley  and  Gifford 
remove  God  from  the  position  it  holds  in  our  text.  The  former's 
arrangement  may  be  scanned  : 

The  count  |  your  fa  |  ther  calls  |  for  you.  1 
Pau.  God ! 

1. 4.  61.     Scan  (Abbott  458,  494)  : 

That  I  I  am  ab  |  sent.    Boy,  |  say  I  [  come  presently. 

1.4.63.    Particulars  is  a  trisyllable  (Abbott  468). 
1.4.  66-g.     For  metrical  reasons,  Gifford  here  arranged  the  text: 
Pau.    I  thought  I  heard  my  father  coming  hitherward, 
List,  ha! 

Ang.    I  hear  not  anything, 
It  was  but  your  imagination,  sure. 

I.  4.  73-4.     This  was  arranged  by  Gifford,  who  followed  Whalley 
in  the  case  of  Paulo's  speech : 
Ang.    Why, 
Has  he  no  knowledge  of  it  then? 

Pau.    O  no; 
No  creature  yet  partakes  it  but  yourself. 

1. 4.  77.     Scan   (Abbott  481,  482)  : 

To  whom  I  I  would  |  reueile  |  it.    Harke,  |       harke. 
1.4. 81-3.    Alas,  blame  not  them, 

Their  seruices  are  (clock-like)  to  be  set. 
Backward  and  forward,  at  their  Lords  command. 

See  Every  Man  Out  2.68:   'Come,  regard  not  a  jester:   It  is  in  the 
power  of  my  purse  to  make  him  speak  well  or  ill  of  me.' 
Staple  of  News  5. 256 : 

They  are  a  kind  of  dancing  engines  all, 
And  set  by  nature,  thus  to  run  alone 
To  every  sound. 

Cf.  /.  Ccesar  4. 1.31-3. 
1.4.84-6.     Cf.  Every  Man  In  i,  104: 

You  know 
My  brother  Wellbred's  temper  will  not  bear 
Any  reproof,  chiefly  in  such  a  presence. 
Where  every  slight  disgrace  he  should  receive 
Might  wound  him  in  opinion  and  respect. 


Act  i]  Notes  119 

Impatience  is  a  quadrisyllable  (Abbott  479)- 

1.4.87-9.     Cf.  Every  Man  Out  2.38.    'His  spirit  is  like  powder, 
quick,  violent;   he'll  blow  a  man  up  with  a  jest';   Catiline  4.255: 
She  has  a  sulphurous  spirit,  and  will  take 
Light  at  a  spark. 

Angela  should  be  read  as  a  disyllabic  (Abbott  468). 
1.5. 1.     Scan  (Abbott  462,  468,  464)  : 
Where  should  |  he  be,  |  trow?  did  |  you  looke  |  in  the  armory. 

1.5.3.  No  forms  the  first  foot  (Abbott  482).  As  Count  Fer- 
neze's  exasperation  and  anger  increase,  he  resorts  to  prose,  return- 
ing occasionally  to  verse  (Abbott  512  a). 

1. 5. 12.  smels  of  fennell.  Of  flattery.  Fennel  was  an  emblem 
of  flattery.  See  Robinson  (/?.  1566-1584),  Handefull  of  Pleasant 
Delites  (Spenser  Soc,  1871,  p.  4)  :  'Fenel  is  for  flaterers,  an  euil 
thing  it  is  sure';  Lyly,  Sapho  and  Phao  (Wks.  2.390)  :  'Flatter,  I 
meane  lie;  litle  things  catch  light  mindes,  and  fancy  is  a  worme, 
that  f eedeth  first  vpon  f enell' ;  Greene,  Quip  for  an  Upstart  Courtier 
(Wks.  II.  214)  :  'Vppon  a  banke  bordring  by,  grewe  womens  weedes, 
Fenell  I  meane  for  flatterers.'  Cf.  Paradise  of  Dayntie  Deuices  (A 
bunche  of  herbes  and  flowers,  p.  52,  ed.  Brydges,  London,  1810)  ; 
2  Hen.  IV  2.  4.  267 ;   Hamlet  4.  5. 180. 

In  his  Dictionary,  Florio  has  finocchiare,  and  dare  finocchio,  mean, 
to  flatter,  the  Italian  word  for  fennel  being  finocchio. 

1.5. 13.  You  haue  bene  in  the  garden  it  appeares.  Because  he 
smells  of  fennel. 

1.5.20.  Patience  is  inter jectional,  and  is  not  to  be  read  as  a  part 
of  the  verse  (Abbott  512). 

1. 5.  23-5.     Arranged  by  Gifford  : 

Gaping  on  one  another !     Now,  Diligence, 
What  news  bring  you? 

Oni.    An't  please  your  honour. 

1.5.28-9.  Please  his  Honour.  'The  quarto  has,  and  rightly, 
"please  your  honour." ' — C.  Cunningham  must  have  had  access  to 
a  copy  of  the  quarto  that  differed  from  Whalley's,  Gifford's,  and 
the  five  that  were  consulted  for  this  edition.  All  have  'please  his 
Honour.' 

I.  5. 30.  the  blew  order.  Servants  wore  blue  coats.  See  Every 
Man  In  i.  50:  'So  must  we  that  are  blue  waiters,  and  men  of  hope 
and  service  do.'  In  the  Masque  of  Christmas  7.  261,  New  Year's 
Gift  enters  'in  a  blue  coat,  serving-man  like.'  See  also  Dekker, 
Bel-man  of  London  {Wks.  3.  149)  :    'Backe  comes  this  counter-feit 


120  The  Cafe  is  Alter d  [Act  i 

Blew-coate,  running  in  all  haste  for  his  masters  cloake-bag' ;  Greene, 
Defence  of  Conni-Catching  (IVks.  ii.  80)  :  'He  had  attyred  his  owne 
brother  very  orderly  in  a  blew  coat,  and  made  him  his  serving-man.' 

For  other  examples,  see  T.  of  Shrew  4.  1.93;  /  Hen.  VI  1.3.47; 
Dekker,  Guls  Horne-hooke  (Pr.  Wks.  2.261);  Dekker,  Honest 
Whore,  Pt.  2  ( Wks.  2. 149)  ;  Middleton,  Trick  to  Catch  the  Old 
One  (Wks.  2.273,  292);  Middleton,  A  Mad  World  (Wks.  3.256, 
273,  338);  Nashe,  Saffron-Walden  {Wks.  3.71,  95,  96,  97,  i34)  ; 
Seruingmans  Comfort  (pp.  107,  130,  134,  135)  ;  Marston,  Eastward 
Hoe  {Wks.  3.50). 

1. 5. 35.  In  a  double  negative,  neither  was  often  used  for  either 
(Franz  410;   Matzner  3.  132). 

1. 5. 37.  For  an  explanation  of  the  idiom  were  best,  see  Franz 
627;   Abbott  230,  352. 

1. 5. 45.  I  hope  I  am  no  spirit.  Onion's  reply  to  the  count's 
Tempt  not  is  of  course  a  jocular  reference  to  the  prevailing  super- 
stition that  devils  or  evil  spirits  assumed  human  shape.  Cf.  Hamlet 
2.  2.  627-9 : 

The  spirit  that  I  have  seen 
May  be  the  devil :    and  the  devil  hath  power 
To  assume  a  pleasing  shape. 

Com.  of  Errors  4.  3.48:   'Satan,  avoid!  I  charge  thee,  tempt  me  not.' 
Jonson's  treatment  of  this  subject  in  The  Devil  is  an  Ass  is  well 

known.     The  more  general  subject  of  witchcraft  is  dealt  with  in  the 

Masques  of   Queens,  and   the  Sad   Shepherd.    Another   reference 

occurs  later  in  our  text  (2.7.147-8;   cf.  note). 
The  following  works  may  be  consulted :    Spalding,  Elizabethan 

Demonology;  Harsnet,  Declaration  of  Egregious  Popish  Impostures; 

Scot,  Discoverie  of  Witchcraft;    Brand    (3. 1-55)  ;    Thornbury   (2. 

112-72).      Dyer,    Folk-Lore    (pp.    49-54)    gives    many    examples    of 

possession  in  Shakespeare. 

1. 5.  52-3.     pull  his  cloth  ouer  his  eares.     Strip  him  of  his  livery, 

discharge  him.     See  Chapman,  Gentleman  Usher  {Wks.  1.275)  : 
Then  do  your  office  maister  Vsher, 
Make  him  put  ofif  his  lerkin ;    you  may  plucke 
His  coate  ouer  his  eares,  much  more  his  lerkin. 

See  also  Dekker,  Guls  Horne-booke  {Pr.  Wks.  2.261)  :  'Curse  and 
swear  .  .  .  because  your  men  haue  vsd  you  so  like  a  rascoll  in 
not  waiting  vpon  you,  and  vow  the  next  morning  to  pull  their  blew 
cases  ouer  their  eares';  and  his  Satiromastix  {Wks.  1.259): 
'Rather  than  thus  to  be  netled,  He  ha  my  Satyres  coate  pull'd  ouer 
mine  eares,  and  be  turn'd  out  a  the  nine  Muses  Seruice.'    Cf.  Poe- 


Act  i]  Notes  121 

taster  2.509;  Preston,  Catnbises  (Manly,  Pre-Shak.  Drama  2. 
179-80;  or  Hawkins,  Origin  of  Eng.  Drama  1.276,  278);  and 
Middleton,  Trick  to  Catch  the  Old  One  (Wks.  2.272). 

I.  5.  59.  sawcy  companion.  In  Dekker,  lests  (Wks.  2.  293),  there 
is  a  similar  quibble.  One  tradesman  says  to  another  :  'I  spend  more 
mustard  and  vinegar  in  a  yeare  in  my  house  then  thou  dost  beefe 
in  thine.  Nay  quoth  the  other,  I  belieue  thee,  for  I  alwaies  tooke 
thee  for  a  very  saucie  knaue.' 
1.5.64-6.     Arranged  by  Gifford: 

So  rude,  so  barbarous. 
Max.     Most  noble  count, 

Under  your  favour  

Count  F.    Why,  I'll  tell  you,  signior. 

I.  5.  72-3.    I  am  not  now  to  learn  how  to  manage  my  affections. 

Cf.  Poetaster  2.393:    'I   take  it  highly  in  snuflF,  to  learn  how  to 
entertain  gentlefolks   of  you,  at  these  years,  i'   faith' ;    ib.   2. 423 : 
'Come,  Minos  is  not  to  learn  how  to  use  a  gentleman  of  quality.' 
I- 5- 73-7-    Cf.  Staple  of  News  5. 170: 

See! 
The  difference  'twixt  the  covetous  and  the  prodigal ! 
The  covetous  man  never  has  money,  and 
The  prodigal  will  have  none  shortly! 

1.5.96.  Why  is  not  to  be  read  as  a  part  of  the  verse  (Abbott 
512). 

1. 5. 108-9.     his  tongue  has  a  happy  turne  when  he   sleepes. 

Cf.  Poetaster  2.  381 :  "Scarce  ever  made  a  good  meal  in  his  sleep' ; 
ib.  2.  408 :  'This  gallant's  tongue  has  a  good  turn,  when  he  sleeps' ; 
Catiline  4.  216 : 

Gal.     Methought 
She  did  discourse  the  best  — 

Ful.    That  ever  thou  heard'st? 

Gal.    Yes. 

Ful.     In  thy  sleep  ! 

Staple  of  News  5. 190 :  'One  that  never  made  Good  meal  in  his 
sleep' ;  New  Inn  5. 332 :  'Never  be  off,  or  from  you,  but  in  her 
sleep.' 

1.5.  no.    /  [Ay]  forms  the  first  foot  (Abbott  482). 

1.5. 117.    Her  is  a  redundant  object  (Abbott  482;   Franz  304). 

1. 5. 120.  make  two  grieues  of  one.  A  proverbial  expression 
(Heywood,  p.  72)  :  'Make  not  two  sorrows  of  one.'  Its  meaning  in 
our  text  is  clear.    However,  see  Othello  1.3.204: 


122  The  Cafe  is  Alterd  [Act  i 

To  mourn  a  mischief  that  is  past  and  gone 
Is  the  next  way  to  draw  new  mischief  on. 

1.5. 121.  Whom  death  marke  out.  Cf.  Horace,  Od.  1.4. 13-4: 
'Pallida  Mors  aequo  pulsat  pede  pauperum  tabernas  Regumque 
turres';  also  Od.  2.3.21-4;  3. 1. 14-5. 

1. 5. 123-4.     Max.    Are  your  horse  ready  Lord  Paulo, 

Pau.    I  signior  the  stay  for  vs  at  the  gate. 

Cf .  Poetaster  2.  383 : 

Ovid  se.    What,  are  my  horses  come? 

Lus.    Yes,  sir,  they  are  at  the  gate  without. 

1. 5- 133.  Fortunatus  hat.  A  magical  wishing-cap.  Fortunatus 
was  'the  hero  of  a  popular  European  chap-book.  When  in  great 
straits  he  receives  from  the  goddess  Fortune  a  purse  which  can 
never  be  emptied.  He  afterwards  takes  from  the  treasure-chamber 
of  a  sultan  a  hat  which  will  transport  its  wearer  wherever  he 
desires.  These  enable  him  to  indulge  his  every  whim.  The  earliest 
known,  and  probably  original,  version  was  published  at  Augsburg 
in  1509.  It  has  been  retold  in  all  languages,  and  dramatized  by 
Hans  Sachs  in  1553  and  by  Thomas  Dekker  in  1600.  Tieck  in 
"Phantasus,"  and  Chamisso  in  "Peter  Schlemihl,"  have  also  utilized 
this  legend.  Uhland  left  an  unfinished  narrative  poem,  "Fortunatus 
and  his  Sons." ' — C.  D. 

The  hat  is  reminiscent  of  the  helmet  of  Hades  worn  by  Perseus 
when  he  vanquished  Medusa,  and  of  the  'Tarnkappe'  of  Siegfried  in 
the  Nibelungen  Lied.  It  is  sometimes  worn  in  conjunction  with  a 
cloak  and  a  pair  of  boots :  Chamisso,  Peter  Schlemihl;  the  English 
tale  of  Jack  the  Giant  Killer;  and  the  Norse  legend  of  the  Three 
Princesses  of  Whiteland  (cf.  Cox,  Mythology  1. 144). 
See  Fortunate  Isles  8.  69 : 

Where  would  you  wish  to  be  now,  or  what  to  see. 
Without  the  Fortunate  Purse  to  bear  your  charges. 
Or  Wishing  Hat? 

Marston,  Ant.  and  Mell.,  Pt.  2  {Wks.  1. 129)  : 

I  have  old  Fortunatus'  wishing-cap. 
And  can  be  where  I  list  even  in  a  trice. 

Beaumont  and  Fletcher,  Honest  Man's  Fortune  (Wks.  3- 420)  : 
Oh,  Fortunatus,  I  envy  thee  not 
For  cap  or  pouch. 

In  one  of  the  'Verses'  prefixed  to  Coryat's  Crudities  (1.96),  Jack- 
son, referring  to  the  latter's  speed  as  a  traveler,  says : 


Act  i]  Notes  123 

Perchaunce  hee  borrowed  Fortunatus 
Hatte,  for  wings  since  Bladuds  time 
Were  out  of  date. 

The  various  versions  of  the  story  of  Fortunatus  may  be  seen 
in  the  English  Tales  and  Romances  (pp.  54-6,  ed.  Esdaile,  London, 
1912).  For  a  general  study  of  the  subject  of  mythology,  see  Gay- 
ley,  Classic  Myths  in  Eng.  Lit.;  Cox,  Mythology  of  Aryan  Nations; 
Miiller,  Comparative  Mythology;  and  Dasent,  Popular  Tales  from 
the  Norse. 

!•  5*  137-8.  I  haue  such  an  odde  prety  apprehension  of  his 
humour.  Cf .  Poetaster  2.  424 :  'I  have  a  pretty  foolish  humour  of 
taking.' 

1. 5. 144.  deprauer.  Cunningham  says  that  the  quarto  has 
prauer.  But  the  copies  of  the  quarto  used  for  this  edition  have 
deprauer. 

I.  5. 144-7.  Cf.  Every  Man  In  1. 192  (original  version)  :  'If  this 
melancholy  rogue  (Lorenzo  here)  doe  not  come,  graunt  that  he  doe 
not  turne  Foole  presently,  and  never  hereafter  be  able  to  make  a 
good  lest,    .    .    .    but  live  in  more  penurie  of  wit  and  Invention.' 

learne  to  speake  i'  the  nose.  An  affectation  attributed  to  the 
Puritans.  Cf.  The  Alchemist  4. 151-2:  'He  has  no  gift  of  teaching 
in  the  nose  that  e'er  I  knew  of.'  Additional  reference  to  the  Puri- 
tans are  to  be  found  in  the  same  play.  Act  2,  scene  S,  and  Act  3, 
scenes  i  and  2.  Jonson's  treatment  of  them  in  Bartholomew  Fair 
is  well  known.  In  his  edition  of  this  play,  Alden  has  a  discussion 
of  Jonson's  attitude  toward  the  Puritans  {Yale  Studies  25. xx  ff.). 
For  a  general  study  of  the  subject,  see  Thompson,  Controversy 
{Yale  Studies  20). 

1. 5. 160.    Wilke  scans  this  line : 

Drown'd  vp  |  with  con  |  fluence  |  of  griefe,  |  and  melancholy. 

1. 5. 167.  My  and  mine  were  used  with  little  distinction  before 
vowels  (Abbott  237;   Franz  326).    Cf.  3.4.54. 

1. 5. 168.  his  strong,  and  reprecussiue  sound.  Cf .  Cynthia's 
Revels  2.  220 :   'Salute  me  with  thy  repercussive  voice.' 

His,  the  old  genitive  of  it,  was  often  used  for  its  (Abbott  217, 
228;    Franz  320). 

1.5. 169.  Giuen  is  read  as  a  monosyllable  (Abbott  466). 

1.5. 174.  I  had  one  other  yonger  borne  then  this.  Plautus, 
Capt.  759-61 : 

Perdidi  unum  filium, 
■    Puerum  quadrimum  quern  mihi  seruos  surpuit, 


124  The  Cafe  is  Alterd  [Act  i 

Neque  eum  seruom  umquam  repperi  neque  filium : 
Maior  potitus  hostiumst. 

1.5,178.  'A  was  frequently  inserted  before  a  numeral  adjective, 
for  the  purpose  of  indicating  that  the  objects  enumerated  are 
regarded  collectively  as  one'  (Abbott  87).  Cf.  Matzner  3.178; 
Franz  271. 

1. 5. 181-2.  Chamont  .  .  .  surprised  Vicenza.  Charles  d'Am- 
boise,  more  commonly  known  as  Chamont  d'Amboise  or  Chamont. 
He  was  the  nephew  of  George  (Bussy)  d'Amboise,  the  Cardinal  of 
Rouen,  and  in  the  campaigns  of  Louis  XII  in  Italy  he  was  the  latter's 
leading  general.  Francesco  Guicciardini  says  of  him  (History  of 
Italy  5. 174)  :  'He  was  an  Officer  of  great  Authority  in  Italy,  for 
through  the  prevailing  Interest  of  the  Cardinal  of  Rouen,  he  admin- 
ister'd  the  Dutchy  of  Milan,  and  commanded  the  King's  Armies  in 
almost  a  despotic  Manner.  But  his  Abilities  were  much  inferior  to 
his  great  Employments ;  for  when  he  was  constituted  in  the  high 
Station  of  Captain-General,  he  neither  knew  the  Arts  of  War  him- 
self, nor  trusted  to  those  who  understood  them.'  He  died  in 
February,  1511. 

At  Cambray,  Dec.  10,  1508,  was  formed  the  so  called  'League  of 
Cambray,'  composed  of  France,  the  Empire,  the  Pope,  and  Aragon. 
The  purpose  of  the  League  was  to  make  war  upon  Venice.  Among 
other  places,  Maximilian,  for  the  Empire,  was  to  receive  Vicenza. 
After  the  League's  victory  at  Agnadella  (Ghiaradadda),  May  14, 
1509,  Venice  yielded  Vicenza  to  Maximilian,  but  recovered  it  later 
the  same  year,  only  to  lose  it  again  to  Chamont  early  in  1510.  This 
is  the  only  occasion  where  Chamont  is  directly  concerned  with  the 
taking  of  Vicenza,  but  there  is  no  conflict  such  as  is  described  in 
our  text.  See  Guicciardini  (4.245,  250,  345,  362;  5.20-1);  and 
Cambridge  Mod.  Hist.  (i.  131-4). 

1. 5, 185.  'Mine  is  almost  always  found  before  "eye,"  "ear," 
&c.,  where  no  emphasis  is  intended'  (Abbott  237).     Cf.  Franz  326. 

1.5.208-9.     I  haue  some  small  occasion  to  stay: 

If  it  may  please  you  but  take  horse  afore. 

Cf .  Every  Man  Out  2. 190 :  'Brother,  pray  you  go  home  afore  (this 
gentleman  and  I  have  some  private  business).' 

The  termination  -ion  was  frequently  pronounced  as  two  syllables 
at  the  end  of  a  line.  Cases  in  the  middle  of  a  line  were  rare 
(Abbott  479). 

I.  5.  215.     Scan  (Abbott  481,  482)  : 

Before  |  I  can  [  demaund?  |  how  now  |       loue. 


Act  2]  Notes  125 

1. 5.  231.  want  that,  and  wanting  that,  want  all.  Taylor  (Motto, 
PP-  503)  uses  the  word  want  sixty-three  times,  and  frequently  with 
a  quibble.     See  p.  Si : 

I  want  a  Kingdome,  and  a  Crowne  to  weare, 
And  with  that  want,  I  want  a  world  of  care. 

1. 5.  239-40.  and  what  deffects 

My  absence  proues,  his  presence  shall  supply. 

Cf.  Sejanus  3.  20 : 

What  his  funerals  lack'd 
In  images  and  pomp,  they  had  supplied 
With  honourable  sorrow. 

Tale  of  a  Tub  6.  201 : 

I  see  the  wench  wants  but  little  wit, 

And  that  defect  her  wealth  may  well  supply. 

1.5.252.    Sententious  is  a  quadrisyllable  (Abbott  479). 

I.  5.  256-8.  Cf .  Every  Man  Out  2.  102 :  'He  is  turn'd  wild  upon 
the  question;   he  looks  as  he  had  seen  a  serjeant.' 

I.  5.  258-g.  scene  the  ghost  ...  In  an  vnsauory  sheet.  No 
doubt  a  sheet  served  as  the  ghost  of  many  departed  heroes,  before 
it  found  its  way  into  the  laundry-bag.      Cf.  Every  Man  In  1.27: 

'Cob.    How  know  I !    Why,  I  smell  his  ghost  ever  and  anon. 
Mat.    Smell  a  ghost!    O  unsavory  jest!' 

See  also  Warning  for  Fair  Women,  Induction  (Simpson  2.243)  : 

Then  too,  a  filthy  whining  ghost, 

Lapt  in  some  foul  sheet,  or  a  leather  pilch. 

I.  5.  260-1.     Giflford  arranged  the  lines : 

Pau.     I  muse  he  spake  not; 
Belike  he  was  amazed,  coming  so  suddenly. 
And  unprepared. — ^Well,  let  us  go. 

ACT  II 
2. 1. 1-2.    So  now  inough  my  heart,  etc.     Plautus,  Aul.  79-80: 

Nunc  defaecato  demum  animo  egredior  domo, 
Postquam  perspexi  salua  esse  intus  omnia. 

2. 1. 2-3.  what  a  could  sweat 

Flow'd  on  my  browes,  and  ouer  all  my  bosome. 


126  The  Cafe  is  Alterd  [Act  2 

Cf.  Poetaster  2.  371 : 

A  freezing  sweat 
Flows  forth  at  all  my  pores,  my  entrails  burn. 

Volpone  3. 184 : 

And  from  his  brain    .    .    . 

Flows  a  cold  sweat,  with  a  continual  rheum. 

2. 1. 6.    Jaques  is  read  as  a  disyllable.    The  final   e  in  French 

names  is  often  retained  in  sound  as  well  as  in  spelling  (Abbott  489). 

2. 1.  7.    Continuall  is  a  trisyllable ;    vigelent,  a  disyllable  (Abbott 

468). 
2. 1. 13-4.  I  maruell  why  these  gallant  youths 

Spoke  me  so  faire,  and  I  esteemed  a  beggar. 

Plautus,  Aul  113-7: 

Nam  nunc  quom  celo  sedulo  omnis,  ne  sciant, 

Omnes  uidentur  scire  et  me  benignius 

Omnes  salutant  quam  salutabant  prius. 

Adeunt,  consistunt,  copulantur  dexteras : 

Rogitant  me,  ut  ualeam,  quid  agam,  quid  rerum  geram. 

2. 1. 15.    Scan  (Abbott  464,  468,  462)  : 

The  end  |  of  flat  |  tery,  is  gaine,  |  or  lech  |  ery. 

2. 1. 24.  The  first  syllable  of  themselues  is  accented  (Abbott 
492).  For  the  omission  of  they  before  this  word,  see  Abbott  20; 
Franz  308,  309. 

2. 1.  25.  In  reading  this  verse,  the  /  may  be  disregarded  (Abbott 
512). 

2. 1.  27.    There  is  perhaps  an  ellipsis  here  of  some  phrase  such  as 
*I  would.'    Almost  the  same  words  occur  later  (3.2.52),  and  'would' 
is  used  (Abbott  382). 
2. 1.  28-30.    Cf .  Volpone  3. 167 : 

Thou  being  the  best  of  things,  and  far  transcending 
All  style  of  joy,  in  children,  parents,  friends, 
Or  any  other  waking  dream  on  earth. 

*The  above  lines  are  from  the  Bellerophon,  a  lost  play  of  Euripides. 
Edit,  Beck.  vol.  II.,  p.  432.'— C7. 

O  tis  a  sweet  companion!  kind  and  true.  Cf.  Greene,  Groats- 
worth  of  Wit  {Wks.  12. 109-10)  :  'I  tell  thee  Lucanio,  I  haue  seene 
foure  score  winters  besides  the  odde  seauen,  yet  saw  I  neuer  him 
that  I  esteemed  as  my  friend,  but  gold,  that  desired  creature,  whom 
I  haue  deerely  loued,  and  found  so  firme  a  friend,  as  nothing,  to 
me  hauing  it,  hath  beene  wanting.' 


Act  2]  Notes  127 

2. 1.  30-1.  O  wondrous  pelfe,  That  which  makes  all  men  false, 
is  true  it  selfe.    Cf.  Volpone  3. 167: 

Riches,  the  dumb  god,  that  giv'st  all  men  tongues, 

That  can'st  do  nought,  and  yet  mak'st  men  do  all  things. 

Crawford  has  shown  that  this  appears  in  Bodenham's  Belvedere, 
p.  128  (Notes  and  Queries  10. 11. 41-2)  : 

Gold,  that  makes  all  men  false,  is  true  it  selfe. 

2. 1. 36-7.     I  stole  his  treasure,  And  this  his  daughter.     Cf. 

Hamlet  4.  5. 172-3 :  'It  is  the  false  steward,  that  stole  his  master's 
daughter.'  In  a  note  to  this  passage,  Collier  (Variorum  ed.,  p. 
345)  says:  'No  such  ballad  is  known.'  Rolfe  (Hamlet,  p.  250) 
makes  a  similar  statement. 

2. 1.  38.  It  was  sometimes  used  for  masculine  and  feminine  pro- 
nouns. Of  this  custom,  Jonson  says  (Grammar  9.287):  'The 
articles  he  and  it  are  used  in  each  other's  gender.  .  .  .  It  also 
followeth  for  the  feminine.'  See  also  N.  E.  D.  (B.  I.  2.  d)  :  'It 
often  occurs  where  he,  she,  or  that  would  now  be  preferred.' 

2. 1. 45-6.  but  hees  ill  bred. 

That  ransackes  tombes,  and  doth  deface  the  dead. 

This  is  quoted  in  Bodenham's  Belvedere  (p.  67),  as  Crawford  has 
shown  (Notes  and  Queries  10. 11.  41-2)  : 

He  is  not  noble,  but  most  basely  bred, 

That  ransacks  tombes,  and  doth  deface  the  dead. 

Cf.  2  Hen.  IV  1. 1.  98:    'And  he  doth  sin  that  doth  belie  the  dead.' 
2. 1. 50.    Some  verb  of  motion  was  to  be  supplied  in  sentences 

of  this  kind  after  shall,  will,  must,  let  (Matzner  2.46;    Franz  530; 

Abbott  40s). 
2.1.52-65.    Rachel  I  must  abroad,   etc.    Plautus,  Aul.  89-100: 

Abi  intro,  occlude  ianuam :  iam  ego  hie  ero. 
Caue  quemquam  alienum  in  aedis  intromiseris. 
Quod  quispiam  ignem  quaerat,  extingui  uolo, 
Ne  causae  quid  sit  quod  te  quisquam  quaeritet. 
Nam  si  ignis  uiuet,  tu  extinguere  extempulo. 
Tum  aquam  aufugisse  dicito,  siquis  petet. 
Cultrum,  securim  pistillum,  mortarium, 
Quae  utenda  uasa  semper  uicini  rogant, 
Fures  uenisse  atque  abstulisse  dicito. 
Profecto  in  aedis  meas  me  absente  neminem 
Volo  intromitti.     Atque  etiam  hoc  praedico  tibi, 
Si  Bona  Fortuna  ueniat,  ne  intromiseris. 


128  The  Cafe  is  Alterd  [Act  2 

Gifford  {Wks.  6.  328)  points  out  that  this  passage  was  used  again 
by  Jonson  in  The  Devil  is  an  Ass  5.  47 : 

You  hear.  Devil, 

Lock  the  street-doors  fast,  and  let  no  one  in, 

Except  they  be  this  gentleman's  followers, 

To  trouble  me.    Do  you  mark?    .    .    . 

Nor  turn  the  key  to  any  neighbor's  need; 

Be  it  but  to  kindle  fire,  or  beg  a  little. 

Put  it  out  rather,  all  out,  to  an  ash. 

That  they  may  see  no  smoke.    Or  water,  spill  it; 

Knock  on  the  empty  tubs,  that  by  the  sound 

They  may  be  forbid  entry.    Say,  we  are  robb'd, 

If  any  come  to  borrow  a  spoon  or  so: 

I  will  not  have  Good  Fortune,  or  God's  Blessing 

Let  in,  while  I  am  busy. 

a.  1.53.    Thy  receives  the  accent  (Abbott  492). 
2. 1. 57.    Thee  used  for  thou,  (Abbott  212)  ;    of.  Matzner  2.  66 ; 
Franz  283. 

2. 1. 62.  The  was  often  omitted  where  it  would  now  be  necessary. 
See  Grammar  9.295;  Matzner  3.  190-207;  Franz  267,  268;  Abbott 
89,  90. 

2. 1. 63.  Read  fire  as  a  disyllabic.  This  was  frequently  the  pro- 
nunciation of  many  monosyllables  ending  in  r  or  re,  preceded  by  a 
long  vowel  or  diphthong  (Abbott  480). 

2. 1. 65.  The  more  we  spare  .  .  .  the  more  we  gaine.  Cf .  the 
following  proverbs:  Hazlitt  (1869,  p.  343):  'Sparing  is  the  first 
gaining';  HazHtt  (1907,  P-  375)  :  'Saving  is  getting';  Ray  (p.  105)  : 
'Of  saving  cometh  having';  Ray  (p.  184):  'A  penny  saved  is  a 
penny  got' 

As  pointed  out  by  Crawford,  this  line  is  foimd  in  Bodenham's 
Belvedere,  p.  128  {Notes  and  Queries  10. 11. 41-2):  'The  more  we 
spare,  the  more  we  hope  to  gain.' 

2.  2. 18.  now  you  come  neere  him.  Come  to  the  point,  touch  on 
the  matter  which  aflfects  him  most  deeply.  In  i  Hen.  IV  i.  2. 14, 
after  the  Prince  has  reminded  Falstaff  of  some  of  his  failings,  the 
latter  replies:  'Indeed,  you  come  near  me  now,  Hal.'  Capulet,  urg- 
ing the  ladies  to  dance,  remarks  that  she  who  hesitates,  'I'll  swear, 
hath  corns;  am  I  come  near  ye  now?'  {Rom.  and  Jul.  1.5.22).  See 
Lyly,  Gallathea  {Wks.  2.448)  : 

'Ramia.    What  are  you  come  so  neere  me? 
Tel.    I  thinke  we  came  neere  you  when  wee  saide  you  loued.' 


Act  2]  Notes  129 

Cf.  T.  Night  3.4.71;   and  Lyly,  Midas  (IVks.  3. 129). 

2.2.42-3.  Gifford's  note  on  this  subject,  commenting  on  a  pas- 
sage in  The  Devil  is  an  Ass  (5.63),  reads:  'Liberties  very  similar  to 
these  were,  in  the  poet's  time,  permitted  by  ladies,  who  would  have 
started  at  being  told  that  they  had  foregone  all  pretensions  to 
delicacy.'  Cf.  Furnivall  (Stubbes,  pp.  267-8)  for  references  to 
contemporary  literature. 

2. 2. 44.    Pastorella.     See  Glossary. 

2.  2. 47.  The  relative  was  often  omitted :  'This  omission  of  the 
relative  may  in  part  have  been  suggested  by  the  identity  of  the 
demonstrative  that  and  the  relative  that'  CAbbott  244).  Cf.  Gram- 
mar 9. 295 ;    Franz  348. 

2.  2.  51-3.    lunip.    youle  contaminate  me  no  seruice. 
Chris.    Command  thou  wouldest  say. 

Cf.  Every  Man  In  1.27: 

'Cob.    Why  not  the  ghost  of  a  herring  cob,  as  well  as  the 

ghost  of  Rasher  Bacon? 
Mat.    Roger  Bacon,  thou  would'st  say.' 

Other  references  of  this  character  which  occur  in  Jonson's  works 
will  be  found  in  the  Introduction  on  p.  xix. 

2. 3.  —  As  pointed  out  by  Cunningham,  this  scene  is  found  in 
Lamb's  Specimens.  The  prefatory  comment  is,  'The  present 
humour  to  be  followed.' 

2. 3.  5.  say  grace  to  euery  bit  of  meate.  The  Puritans  were 
strict  in  observing  this  rite.  Stubbes  says  (p.  in)  :  'We  ought 
neuer  to  take  morsell  of  bread,  nor  sope  of  drinke,  without  humble 
thankes  to  the  Lord  for  the  same.'  In  another  place  (pp.  215-28) 
he  publishes  prayers  for  sundry  occasions. 

2. 3. 13-4.  Sister,  faith  you  take  too  much  Tobacco, 

It  makes  you  blacke  within,  as  y'are  ^vithout. 

Cf .  Barth.  Fair  4.  405 :  'The  lungs  of  the  tobacconist  are  rotted, 
.  .  .  and  the  whole  body  within,  black  as  her  pan  you  saw  e'en 
now,  without.' 

Scan  (Abbott  482,  484)  : 

Sister,  |  faith  |  you  take  |  too  much  |  Tobacco. 

It  was  not  unusual  for  ladies  to  smoke.  In  Dekker's  Satiromastix 
(Wks.  1. 196),  Asinius  remarks:  'A  Lady  or  two  tooke  a  pype 
full  or  two  at  my  hands,  and  praizde  it  for  the  Heauens.'  Prynne 
(Histrio-Mastix,  p.  363),  commenting  on  the  custom  referred  to 
by  Gosson  (Sch.  Ab.,  ed.  Arber,  p.  35)  of  giving  ladies  apples 
at  a  play,  adds,    'Now  they  offer  them  the  Tobacco-pipe.'    Ursula 


13©  The  Cafe  is  Alterd  [Act  2 

in  Barth.  Fair  (4.  387)  was  an  inveterate  smoker.  Fairholt  (p.  69) 
quotes  an  incident  from  Pardee's  History  of  the  Court  of  Louis  XIV 
in  which  the  ladies  of  the  court,  'wearied  by  the  gravity  and  etiquette 
of  the  court  circle,'  had  retired  after  supper  to  their  own  apart- 
ments, where  they  were  later  surprised  smoking  by  the  Dauphin. 
For  other  instances,  see  Fairholt's  History   (London,   1859). 

2.3.16.  Of  used  in  protestations  or  adjurations  (Franz  518; 
Abbott  169). 

2.  3.  21.  Hate  [eat]  when  your  stomacke  serues.  Cf .  Greene, 
James  IV  {Wks.  13.  324)  : 

My  friend,  it  stands  with  wit 

To  take  repast  when  stomache  serueth  it. 

2. 3. 22.  eleuen  and  sixe.  The  hours  for  meals.  Harrison  writes 
(2. 6. 166)  :  'With  vs  the  nobilitie,  gentrie,  and  students,  doo  ordi- 
narilie  go  to  dinner  at  eleuen  before  noone,  and  to  supper  at  fine, 
or  betweene  fine  and  six  at  afternoone.  The  merchants  dine  and 
sup  seldome  before  twelue  at  noone,  and  six  at  night  especiallie  in 
London.  The  husbandmen  dine  also  at  high  noone  as  they  call  it, 
and  sup  at  seuen  or  eight :  but  out  of  the  tearme  in  our  vniversities 
the  scholers  dine  at  ten.'    Cf.  Traill  (3.392). 

See  Beaumont  and  Fletcher,  Knight  of  the  Burning  Pestle  (Wks. 
2. 150)  :  *I  never  came  into  my  dining-room,  but,  at  eleuen  and  six 
o'clock,  I  found  excellent  meat  and  drink  o'  the  table' ;  Dekker, 
Guls  Horne-booke  (Pr.  Wks.  2.  237)  :  'Let  it  be  your  vse  to  repaire 
thither  [to  a  fashionable  ordinary]  some  halfe  houre  after  eleuen; 
for  then  you  shall  find  most  of  your  fashion-mongers  planted  in 
the  roome  waiting  for  meate.'  For  other  references,  see  Mucedorus 
3. 2.  II ;  Beaumont  and  Fletcher,  Woman  Hater  (Wks.  1. 14)  ;  Dek- 
ker, Dead  Tearme  (Pr.  Wks.  4.50);  Middleton,  Changeling  (Wks. 
6.19). 

2.3.22-5.  Cf.  Every  Man  Out  2.99-100:  'I  pursue  my  humour 
still,  in  contempt  of  this  censorious  age.  .  .  .  For  mine  own 
part,  so  I  please  mine  own  appetite,  I  am  careless  what  the  fusty 
world  speaks  of  me.' 

2.  3. 26.  Praecisianisme.  In  the  i6th  and  17th  century,  synonym- 
ous with  Puritanism.  The  N.  E.  D.  quotes  J.  Jones,  Bathes  of  Bath, 
1572  (3.  24)  :  'The  Puritanes,  but  better  we  may  term  them  piuish 
precisians.'  See  Every  Man  In  i.  73 :  'He's  no  precisian,  that  I'm 
certain  of ;   and  Every  Man  Out  2. 137 : 

'T  is  now  esteem'd  precisianism  in  wit. 
And  a  disease  in  nature,  to  be  kind 
Toward  desert,  to  love  or  seek  good  names. 


Act  2]  Notes  131 

In  our  play,  Aurelia  censures  her  sister  for  always  maintaining  a 
serious  demeanor.  This  was  considered  characteristic  of  the  Puri- 
tans:  Marlowe,  Faustus  (Wks.  1.222)  :  'I  will  set  my  countenance 
like  a  Precisian,  and  begin  to  speak  thus';  Greene,  Repentance  of 
Robert  Greene  {Wks.  12. 176),  says  that,  because  of  a  'solemne 
humour,'  due  to  remorse  for  'my  wickednesse  of  life,  .  .  . 
they  fell  vpon  me  in  ieasting  manner,  calling  me  Puritane  and 
Presizian,  and  wished  I  might  haue  a  Pulpit.'  In  Cynthia's  Revels 
(2.300),  Arete's  'set  face'  evokes  this  comment:  'She  is  the 
extraction  of  a  dozen  Puritans,  for  the  look.' 

Shakespeare  does  not  use  'Precisian'  or  'Precisianism'  to  char- 
acterize the  Puritans.  The  nearest  approach  to  it  occurs  in  Meas. 
for  Meas.  i.  3.  50,  where  the  Duke  remarks  that  'Lord  Angelo  is 
precise.' 

For  additional  uses  of  the  above  words,  see  Arden  of  Faversham 
3.2. 18;  Nashe,  Almond  for  a  Parrat  {Wks.  3.345,  366,  372)  ;  Har- 
vey, Letter  Book  (p.  30,  Camden  Soc,  1884),  and  his  Pierce's  Super- 
erogation {Wks.  2.48,  159,  163). 

2.  3.  27.  The  first  syllable  of  austere  receives  the  accent  {Gram- 
mar 9.  266) . 

2. 3.  ZT'  giue  me  nature.  See  Sidney,  Defense  of  Poesy  (ed. 
Cook  7. 1 1-3)  :  'The  moral  philosopher  standeth  upon  the  natural 
virtue,  vices,  and  passions  of  man;  and  "follow  nature,"  saith  he, 
"therein,  and  thou  shalt  not  err." '  Professor  Cook  refers,  in  this 
connection,  to  Marcus  Aurelius,  Thoughts  7. 55 :  'Do  not  look 
around  thee  to  discover  other  men's  ruling  principles,  but  look 
straight  to  this,  to  what  nature  leads  thee,  both  the  universal  nature 
through  the  things  which  happen  to  thee,  and  thy  own  nature 
through  the  things  which  must  be  done  by  thee.' 

2. 4. 12.  Whalley  and  Gifford  divided  this  line  after  so.  The 
first  part  completes  the  verse  of  the  preceding  line,  and  the  rest  is 
read  with  the  two  lines  that  follow. 

2.4.15.    Maddam  may  be  read  as  a  monosyllable  (Abbott  466). 

2. 4. 23.  Whalley  and  Gifford  divided  this  line  after  with  you, 
completing  the  verses  of  the  preceding  and  succeeding  lines,  respec- 
tively. 

2.4.30.     r/jaf  omitted  after  JO  (Franz  551). 

2.  4. 32-3.    Whalley  and  Gifford  arranged  this  : 

Equally  pleasant. 
Phoen.    Sir,  so  I  do  now. 

2.  4.  40.    Read  the  termination  -ion  as  two  syllables  (Abbott  479) . 
2.  4.  44.    a  Decade  in  the  art  of  memory.    The  Art  of  Memory 


132'  The  Cafe  is  Alterd  [Act  2 

was  a  game  of  cards,  and  the  decade  refers  to  the  'ten-spot.'  The 
N.  E.  D.  says  the  game  is  described  in  Cotton's  Complcat  Gamester 
(1709,  p.  loi).  Seymour  published  a  work  with  the  same  title, 
including  in  it  parts  II  and  III  of  Cotton's  treatise.  In  this  (Lon- 
don, 1734,  p.  38;  1739,  p.  230),  the  game  is  explained  thus:  'This  is 
rather  a  Sport,  than  a  Game.  Money  may  be  won  at  it,  but  it  is 
most  commonly  the  Way  to  act  the  Drunkard.  It  is  the  best  when 
many  play  at  it;  for  with  few  it  is  no  Sport  at  all:  for  Example; 
As  many  Persons  as  do  play,  so  many  Cards  trebled  must  be  thrown 
down  on  the  Table,  with  their  Faces  upwards;  which  every  one 
must  take  Notice  of,  and  endeavor  to  register  them  in  his  Memory. 
Then  the  Dealer  must  take  them  all  up,  and  shuffling  them,  after 
cutting,  deals  to  every  one  3  a-piece. 

'The  first,  it  may  be,  calls  for  a  King,  which  must  be  laid  on  the 
Table,  with  his  Face  downwards  by  him  who  hath  it  in  his  Hand ; 
the  next,  it  may  be,  calls  for  a  10  of  Spades,  which  must  be  laid 
down  in  like  manner,  and  so  it  goes  round;  now  if  any  one  calls 
for  what  is  already  laid  down,  if  they  play  for  Liquor,  he  must 
then  drink  a  Glass;  if  for  Money,  he  must  then  pay  a  Stake,  what- 
ever the  Sum  be  they  play  for. 

'This  Sport  wholly  depends  on  the  Memory ;  for  want  of  which 
a  Man  may  lose  both  his  Money  and  his  Understanding.' 

The  Art  of  Memory  was  also  a  system  of  mnemonic  devices. 
Such  a  system  is  explained  by  Saunders  {Physiognomic,  pp.  371-7, 
London,  1671).  The  N.  E.  D.  refers  to  Copeland  (The  Art  of 
Mem,ory,  1540?).  See  Nashe,  Vnfortunate  Traveller  (Wks.  2. 
299)  :  'It  is  not  possible  for  anie  man  to  learne  the  Art  of  Memorie 
.  .  .  except  hee  haue  a  naturale  memorie  before.'  A  humorous 
allusion  occurs  in  Beaumont  and  Fletcher,  Thierry  and  Theodoret 
{Wks.  I.  153)  :  'He,  mistaking  the  weapon,  lays  me  over  the  chaps 
with  his  clubfist,  for  which  I  was  bold  to  teach  him  the  art  of 
memory.'  See  also  Cowley,  Poems  {The  Mistress,  'Soul,'  p.  84,  ed. 
Waller,  Cambridge,  1905). 

Memory  may  be  read  as  a  disyllable  (Abbott  464,  468). 

2.  4.  50.    Scan  (Abbott  494,  468)  : 

And  fits  I  them  one  |  ly,  that  |  are  nought  |  but  cerimony. 

2.4.52-5.     will  you  be  my  refuge?    ...   be  my  Plouer.     Cf. 

Every  Man  Out  2.  140,  141  :  'He  is  my  Pylades,  and  I  am  his 
Orestes' ;  'He  shall  be  your  Judas,  and  you  shall  be  his  elder-tree' ; 
'Let  him  be  Captain  Pod,  and  this  his  motion' ;  'You  shall  be  Hol- 
den,  and  he  your  camel' ;  'You  shall  be  his  Countenance,  and  he 
your    Resolution';     Cynthia's   Revels  2.240,   296:     'I    call    madam 


Act  2]  Notes  133 

Philautia,  my  Honour;  and  she  calls  me,  her  Ambition';  'You 
shall  be  no  more  Asotus  to  us,  but  our  goldfinch,  and  we  your 
cages' ;  Poetaster  2. 4,97 :  'Be  his  ^sculapius,  .  .  .  and  he  shall 
be  your  patient' ;  Epicaene  3.  393 :  'Before,  I  was  the  bird  of  night 
to  you,  the  owl;  but  now  I  am  the  messenger  of  peace,  a  dove'; 
Barth.  Fair  4. 495 :  'I'll  for  ever  be  thy  goose,  so  thou'lt  be  my 
gander";  Devil  is  an  Ass  5.92:  '[I  would]  be  your  blackbird,  .  .  . 
your  throstle' ;  New  Inn  5.  337  :  'Thou  shalt  be  the  bird  To  sovereign 
Prue,  .  .  .  her  Fly.' 
2.  4.  58-9.  He  borrow  Cupids  wings. 

Masse  then  I  feare  me  youle  do  strange  things. 

Cf .  Masque  of  Owls  8. 53  : 

And  though  he  have  not  on  his  wings. 
He  will  do  strange  things. 

Rom.  and  Jul.  1. 4. 17  : 

You  are  a  lover;   borrow  Cupid's  wings. 

For  the  reflexive  use  of  feare,  see  Matzner  2.65;  Abbott  296; 
Franz  628,  307. 

2.  5. 10.  Single  lines  with  two  or  three  accents  are  often  found 
at  the  beginning  or  end  of  a  speech  (Abbott  511). 

2. 5.  II.  My  and  other  possessive  adjectives,  when  unemphatic, 
were  sometimes  transposed  (Abbott  13;    Franz  328). 

2.  5.  ig.  Daughters  take  heede  of  him,  he's  a  wild  youth.  Cf. 
Horace,  Sat.  i.  4. 85  :  'Hie  niger  est,  hunc  tu,  Romane,  caveto.'  See 
Every  Man  Out  2.  38 :  'O,  he's  a  black  fellow,  take  heed  of  him' ; 
Poetaster  2. 495 :  'These  be  black  slaves ;  Romans,  take  heed  of 
these.' 

2. 6. 1-3.  This  speech  was  arranged  by  Gifford  so  as  to  read 
'How  now    .     .     .     with  you'  as  a  verse. 

'In  the  quarto,  throughout  the  ensuing  dialogue,  the  Count  calls 
his  steward  Christopher  simply,  not  Christophero,  which  I  should 
think  was  intended,  and  ought  to  have  been  retained.' — C.  It  is 
apparent,  however,  that  the  change  was  made  for  metrical  reasons. 

2.6.6.    At  used  for  from   (Franz  462). 

2.  6.  8.  Here  Christopher  should  be  read  as  written,  and  simplicity 
should  be  regarded  as  a  trisyllable  (Abbott  468). 

2.6.18.  Maintenance  is  a  disyllabic  (Abbott  468). 

2.6. 19.  The  first  syllable  of  discharge  receives  the  accent  (Gram- 
mar g.  266;  Abbott  492). 

2. 6. 23-4.  thou  hast  euer  been  Honest  and  true,  etc.  Plautus, 
Aul.  215-6: 


134  The  Cafe  is  Alterd  [Act  2 

Certe  edepol  equidem  te  ciuem  sine  mala  omni 

malitia 
Semper  sum  arbitratus  et  nunc  arbitror. 

Cf.  M.  of  Venice  3.4.46-7: 

As  I  have  ever  found  thee  honest-true, 
So  let  me  find  thee  still. 

2.6.29.    Who  wouldst  thou  haue,  etc.     Plautus,  Aul.  170-2: 
Eun.    Die  mihi,  quaeso,  quis  east  quam  uis  ducere 
uxorem  ?        Meg.    Eloquar. 
Nouistin  hunc  senem  Euclionem  ex  proxumo  pauperculum? 
Eun.    Noui :   hominem  haud  malum  mecastor. 

Scan  (Abbott  456)  : 

Who  wouldst  I  thou  haue  |  I  prithee?  | 
Chris.  Rachel  |  de  prie. 

Who  for  whom  (Abbott  274;   Franz  334). 

2.  6. 40-1.    And  if  I  did  not  see  in  her  sweet  face 

Gentry  and  noblenesse.     Cf.  Poetaster  2.398: 
'I  see,  even  in  her  looks,  gentry,  and  general  worthiness.' 

2.6.44-5.    For  where  loue  is  he  thinke  his  basest  obiect 
Gentle  and  noble.    Cf.  M.  N.  Dream  1. 1.232-3: 

Things  base  and  vile,  holding  no  quantity. 
Love  can  transpose  to  form  and  dignity. 

Also  Hazlitt  (1907,  p.  304)  :   'Love  sees  no  faults.' 

a.  7.  6.  bastinado  the  poore  cudgell.  The  first  use  of  bastinado 
given  by  the  A^.  E.  D.  was  in  1577,  and  as  a  noun.  As  a  verb,  the 
first  example  is  dated  1614.  Thus  its  use  as  a  verb  in  our  text 
antedates  this  by  several  years.  It  was  used  thus  in  Every  Man  In 
(i.  116),  and  in  Poetaster  (2.497),  acted  in  1598  and  1601  respec- 
tively. 

The  same  quibble  occurs  in  Every  Man  In  i.  35 : 

'Mat.    He  brags  he  will  give  me  the  bastinado,  as  I  hear. 
Bob.    How !  he  the  bastinado !  how  came  he  by  that  word,  trow  ? 
Mat.     Nay,  indeed,  he  said,  cudgel  me;    I  term'd  it  so,  for  my 
more  grace.' 

Also  in  K.  John  2.  i.  463 :   'He  gives  the  bastinado  with  his  tongue : 
Our  ears  are  cudgell'd.' 

2.7.8-10.  I  haue  the  phrases  .  .  .  fitting  the  mistery  of  the 
noble  science.    Cf.  Every  Man  Out  2.  50-1 :   'I  have  the  method  for 


Act  2]  Notes    ■  135 

the  threading  of  the  needle  .  .  .  and  all  the  humours  incident 
to  the  quality.' 

Epitaphs.  Juniper  of  course  means  epithets.  Cf.  Cynthia's 
Revels  2.298: 

'Gel.  [He]  calls  me  at  his  pleasure  I  know  not  how  many  cocka- 
trices, and  things. 

Mor.  In  truth  and  sadness,  these  are  no  good  epitaphs,  Anaides, 
to  bestow  upon  any  gentlewoman.' 

Mrs.  Malaprop's  remark  in  Sheridan,  Rivals  (3.  3)  is  familiar :  'Sure, 
if  I  reprehend  any  thing  in  this  world,  it  is  the  use  of  my  oracular 
tongue,  and  a  nice  derangement  of  epitaphs.' 

the  noble  science.  During  the  reign  of  Henry  VHI,  a  corpora- 
tion was  formed  under  the  name  of  'The  Noble  Science  of  Defence.' 
It  provided  for  a  specified  course  of  training  in  fencing,  and  con- 
ferred degrees.  Upon  entrance,  the  candidate  was  known  as  a 
'Scholar.'  Later  at  a  public  contest,  if  successful,  he  became  a 
'Provost  of  Defence.'  At  a  final  trial,  he  was  declared  a  'Master  of 
Defence'  (Strutt,  pp.  259-64).  In  Cynthia's  Revels  (2.313)  there  is 
a  burlesque  imitation  of  these  public  trials  of  skill. 

See  Traill  (3.  574)  :  'In  1565  the  Queen  issued  a  proclamation  to 
limit  and  control  the  "schools  of  fence,"  in  which  "the  multitude 
and  the  common  people"  were  being  taught  "to  play  at  all  kinds 
of  weapons,"  and  the  size  of  the  rapier  and  dagger  was  regulated.' 
Gosson  (p.  46)  remarks :  'The  cunning  of  Fencers  [is]  applied  to 
quarrelling';  and  later  (p.  47)  :  'Fencing  is  growne  to  such  abuse, 
that  I  may  wel  compare  the  Scholers  of  this  Schoole  to  them  that 
prouide  Staues  for  their  owne  shoulders.' 

Later  in  the  scene  (1.  14),  'maisters  of  defence'  are  mentioned. 
Cf.  Every  Man  In  1. 113 :  'Did  you  ever  prove  yourself  upon  any  of 
our  masters  of  defence  here' ;  Merry  Wives  i.  i.  295  ;  Beaumont  and 
Fletcher,  Knight  of  the  Burning  Pestle  (Wks.  2.155);  Dekker, 
Honest  Whore,  Pt.  i  {Wks.  2.63)  ;  Dekker,  Seuen  Deadly  Sinnes 
iPr.  Wks.  2.28). 

That  Jonson  had  no  fault  to  find  with  fencing  per  se  may  be 
gained  from  his  Epigram  To  William  Earl  of  Newcastle  g.  15.  But 
for  the  style  of  fencing  then  in  vogue  he  had  small  sympathy.  See 
Every  Man  In  1.35,  113,  126;  Every  Man  Out  2.  loi ;  Cynthia's 
Revels  2.313;  Epicoene  3-435;  Alchemist  4100;  Devil  is  an  Ass 
5.  78;  New  Inn  5.  339,  388;  Magnetic  Lady  6. 12;  Pan's  Anniversary 
8.42. 

For  other  references,  see  Rom.  and  Jul.  2.4.21-7;  3.1.88;  As 
You  Like  It  5.  4.  48-108;   Merry  Wives  2.3.26;   L.  L.  Lost  i.  2. 184; 


136  The  Cafe  is  Alterd  [Act  2 

Beaumont  and  Fletcher,  French  Lawyer  (Wks.  3.483),  King  and  No 
King   (Wks.  2.244);    Marston,  Scourge  of  Villainy   (Wks.  3.373)- 

For  a  work  on  fencing,  see  Castle,  Schools  and  Masters  of  Fence 
(London,  1885)  ;    cf.  Saviolo,  Practise  (London,  1595). 

2.  7. 16.    Vtopia.    'England.' — G. 

2.  7.  28-9.  the  publicke  Theater.  Plays  were  performed  in  four 
kinds  of  places :  the  converted  inn-yards ;  the  buildings  used  also 
for  bull-  and  bear-baiting;  the  public  theatres;  and  the  private 
theatres  (Fleay,  Hist,  of  Stage,  p.  146).  A  list  of  the  public  and 
private  theatres  of  Jonson's  day,  as  given  by  Lawrence  (pp.  25-6), 
follows : 

PUBLIC.  PRIVATE. 

The  Theatre  (1576-1598).  Paul's  (1581-1608). 

The  Curtain  (i  576-1630).  Blackfriars  (i 596-1655). 

Newington  Butts  (1586-1603).         Whitefriars  (1603-1621). 

The  Rose  (1592-1603).  Cockpit  or  Phoenix  (1617-1649). 

The  Swan  (1595-1635).  Salisbury  Court  (1629-1649). 

(First)  Globe  (1598-1613). 

(First)  Fortune  (1600-1621). 

Red  Bull  (1600-1663). 

The  Hope  (1614-1656). 

(Second)  Globe  (1614-1644). 

(Second)  Fortune  (1623-1649). 

Cf.  the  list  published  by  Fleay,  Stage  (pp.  367-8)  ;  and  Collier 
(3. 81-139).  The  Globe  and  the  Blackfriars  were  the  best  of  their 
class  in  respect  to  the  character  of  the  audience,  and  the  eminence 
of  the  dramatists  whose  plays  they  produced.  Plays  of  Shake- 
speare and  Jonson  were  produced  in  each.  For  comfort  and  select- 
ness  of  audience,  the  Blackfriars  surpassed  the  Globe. 

The  private  theatres  had  many  peculiarities  that  distinguished 
them  from  the  public  theatres.  They  were  smaller,  and  were  covered 
with  a  roof.  The  prices  of  admission  were  higher,  and  the  audience 
was  more  select.  Performances  began  later,  were  shorter,  and  were 
conducted  partly  by  artificial  light.  Traill  (3.  570)  says  that  private 
theatres  in  dwelling-houses  had  evening  performances.  The  pit  was 
furnished  with  benches,  whereas  in  the  public  theatres  the  'ground- 
lings' stood  throughout  the  performance.  Spectators  were  permitted 
to  sit  on  the  stage.  The  boxes  were  kept  locked,  and  were  rented 
for  the  season.  There  was  not  so  much  horse-play  on  the  part  of 
the  players.  The  spectators  conducted  themselves  with  more 
decorum.  The  music  was  of  a  high  class,  and  in  great  contrast  to 
the  'jigs'   in  the  public  theatres. 


Act  2]  Notes  137 

The  audiences  in  the  public  and  private  theatres  are  compared  in 
the  Prologue  to  The  Doubtful  Heir  (Shirley).  For  works  dealing 
with  the  characteristics  of  the  two  classes  of  theatres,  see  Law- 
rence {s.  V.  Blackfriars)  ;  Baker  (pp.  18,  19,  23,  24,  27)  ;  Collier 
(3.140-5);  Thornbury  (2.8);  Wilkes  (p.  210);  Schelling  (i. 
160-2)  :  Fleay,  Hist,  of  Stage  (p.  153).  See  also  works  on  the 
subject  by  Chambers;  Genest;  Ordish,  Theatres;  Albright,  Shake- 
spearean Stage  (N.  Y.,  1909)  ;  Cambridge  Hist.  Eng.  Lit.  (6. 10). 
In  the  last,  there  is  a  valuable  bibliography.  Cf.  Lawrence,  'Evo- 
lution and  Influence  of  the  Elizabethan  Playhouse'  (Jahrbuch  47. 
18-41)  ;    Wallace,  The  Children    .     .    .    at  Blackfriars. 

2.7.36-7.  are  their  plaies?  as  ours  are?  extemporall?  A  refer- 
ence to  the  improvised  comedy  which  had  its  beginning  in  Italy 
about  the  middle  of  the  sixteenth  century,  and  which  is  generally 
known  as  the  commedia  dell'  arte  all'  improvviso.  The  outline  of 
the  plot,  with  the  various  stage-directions,  was  carefully  written 
out,  but  its  development  through  dialogue  and  action  was  left  to 
the  ingenuity  of  the  players.  The  humor  of  this  type  of  comedy 
was  of  a  boisterous  and  farcical  nature. 

See  Middleton,  Spanish  Gipsy  (Wks.  6.  195)  : 

There  is  a  way 
Which  the  Italians  and  the  Frenchmen  use, 
That  is,  on  a  word  given,  or  some  slight  plot, 
The  actors  will  extempore  fashion  out 
Scenes  neat  and  witty. 

Brome,  City  Wit  (Wks.  I.  364)  :  'It  should  be  done  after  the  fashion 
of  Italy  by  our  selues,  only  the  plot  premeditated  to  what  our  aim 
must  tend :  Marry  the  Speeches  must  be  extempore' ;  Kyd,  Spanish 
Tragedie  4. 1. 163: 

The  Italian  Tragedians  were  so  sharpe  of  wit 

That  in  one  houres  meditation 

They  would  performe  any  thing  in  action. 

In  Brome,  Antipodes  {Wks.  3.271),  'Byplay'  is  represented  as  an 
extempore  actor.  Near  the  end  of  Act  4  of  the  same  play,  Letoy 
says  (p.  312)  :  'We  now  give  over  The  play,  and  doe  all  by  Extem- 
pore.' Cf .  I  Hen.  IV  2.  4.  308 :  'Shall  we  be  merry  ?  shall  we  have 
a  play  extempore?' 

In  Volpone  (3.215)  mention  is  made  of  'Pantalone,'  one  of  the 
stock  characters  of  the  commedia  dell'  arte.  As  Dr.  Smith  suggests 
(see  below),  the  mountebank  performance  here  (pp.  203-14)  is  no 
doubt  an  echo  of  the  Italian  improvised  drama.    Cf.  As  You  Like  It 


138  The  Cafe  is  Alterd  [Act  2 

2.7.158;  T.  of  Shrew  3.1.37;  Nashe,  Pierce  Penilesse  (Wks. 
I.  215). 

In  England,  it  seems  to  have  been  the  custom  after  the  perform- 
ance of  a  play  to  introduce  extemporal  verse :  Nashe,  Pierce 
Penilesse  {Wks.  1.244): 

Like  the  queint  Comaedians  of  our  time, 
That  when  their  Play  is  doone  do  fal  to  ryme. 

Dekker,  Strange  Horse-Race  (Pr.  Wks.  3. 340)  :  'I  haue  often 
seene,  after  the  finishing  of  some  worthy  Tragedy,  or  Catastrophe 
in  the  open  Theaters,  that  the  Sceane  after  the  Epilogue  hath  beene 
more  blacke  (about  a  nasty  bawdy  Igge)  then  the  most  horrid  Sceane 
in  the  play.'  Of  the  better  class  of  improvisers,  Tarleton,  Wilson, 
and  Kemp  are  often  mentioned.  See  Stow,  Annates  (1631,  p.  698)  ; 
Harvey,  Letters  {Wks.  1. 125),  and  Foure  Letters  (p.  168)  ;  Brome, 
Antipodes  (_Wks.  3.260). 

The  following  works  will  be  valuable  for  a  study  of  the  subject: 
Memoirs  of  Carlo  Gossi  (tr.  Symonds,  London,  1890) ;  Paget 
(Vernon  Lee),  Studies  of  the  Eighteenth  Century  in  Italy  (Chicago, 
1908) ;  Moland,  Molihe  et  la  Comedie  Italienne  (Paris,  1867) ; 
Scherillo,  La  Commedia  dell'  Arte  in  Italia  (Turin,  1884),  and  La 
Vita  Italiana  net  Seicento  (Florence,  1897)  ;  Wolflf,  'Shakespeare 
und  die  Commedia  dell'  Arte*   (Jahrbuch  46. 1-20). 

The  latest  work  on  the  subject  is  by  Dr.  Winifred  Smith,  The 
Commedia  Dell'  Arte  {Columbia  Studies  in  English,  N.  Y.,  1912). 
It  contains  a  good  bibliography.  See  also  the  new  edition  of  Flogel's 
Geschichte  des  Grotesk-komischen  (1788),  brought  out  by  Bauer  (2 
vols.,  Munich,  1914)  :   1.40-70. 

2. 7.  44.  the  sport  is  at  a  new  play.  The  occasion  of  the  presen- 
tation of  a  new  play  must  have  been  a  trying  ordeal  for  the  author. 
The  hostile  reception  that  was  given  to  some  of  Jonson's  plays, 
especially  Sejanus  and  The  New  Inn,  is  well  known.  In  his  dedica- 
tion to  Lord  Aubigny,  when  he  published  the  former  in  1616,  Jonson 
says  (3.  3)  :  'It  is  a  poem,  that,  if  I  well  remember,  in  your  lord- 
ship's sight,  suffered  no  less  violence  from  our  people  here,  than 
the  subject  of  it  did  from  the  rage  of  the  people  of  Rome.'  Of 
The  New  Inn,  he  says  in  a  note  prefaced  to  his  famous  Ode  (5. 
415)  :  'The  just  indignation  the  author  took  at  the  vulgar  censure 
of  his  play,  by  some  malicious  spectators,  begot  this  following  Ode 
to  himself.' 

Several  features  were  characteristic  of  first  performances.  They 
seem  to  have  been  well  attended,  either  because  of  genuine  interest 
or  because  of  the  expectation  of  witnessing  the  rough  treatment 


Act  2]  Notes  139 

sometimes  given  a  new  play.  Cf.  Dekker,  Deuils  Answer  (Pr.  Wks. 
2.  118)  :  'It  was  a  Comedy,  to  see  what  a  crowding,  as  if  it  had  beene 
at  a  new  Play.'  Dekker's  advice  to  a  playgoer  on  such  an  occasion 
will  be  remembered  {Guls  Horne-hooke,  Pr.  Wks.  2.254):  'Mary, 
if  either  the  company,  or  indisposition  of  the  weather  binde  you  to 
sit  it  out,  my  counsell  is  then  that  you  turne  plain  Ape,  .  .  . 
mewe  at  passionate  speeches,  blare  at  merrie,  finde  fault  with  the 
musicke,  whew  at  the  childrens  Action,  whistle  at  the  songs.'  That 
Sejanus  was  greeted  in  this  manner  is  evident  from  a  poem  written 
at  that  time  by  Fennar,  and  quoted  by  Gifford,  in  which  the  follow- 
ing lines  appear  (3.  3)  : 

They  screwed  their  scurvy  jawes,  and  lookt  awry, 
Like  hissing  snakes  adjudging  it  to  die. 

It  is  commonly  known  that  the  admission  to  a  new  play  was 
double  the  usual  price.  Collier  (3. 214)  quotes  from  Marmion's 
Fine  Companion:  'A  new  play,  and  a  gentleman  in  a  new  suit  claim 
the  same  privilege — at  their  first  presentment  their  estimation  is 
double.'  See  also  note  to  1. 1. 104.  Cf.  Hen.  VIII  S.  4.  63-7 ;  Brome, 
Antipodes  {Wks.  3.259);  Beaumont  and  Fletcher,  Knight  of  the 
Burning  Pestle  {Wks.  2.  127,  dedication  by  Burre). 

2.  7. 51-2.  will  be  as  deepe  myr'd  in  censuring  as  the  best.  Cf . 
Cynthia's  Revels  2.213:  'As  some  one  civet-wit  among  you,  that 
knows  no  other  learning,  than  the  price  of  satin  and  velvets ;  nor 
other  perfection  than  the  wearing  of  a  neat  suit;  and  yet  will 
censure  as  desperately  as  the  most  profess'd  critic  in  the  house, 
presuming  his  clothes  should  bear  him  out  in  it.'  In  the  Discoveries 
(9.  158)  Jonson  remarks :  'But  the  wretcheder  are  the  most  obsti- 
nate contemners  of  all  helps  and  arts ;  such  as  presuming  on  their 
own  naturals  (which  perhaps  are  excellent)  dare  deride  all  diligence, 
and  seem  to  mock  at  the  terms,  when  they  understand  not  the 
things,  thinking  that  way  to  get  off  wittily,  with  their  ignorance.' 
He  had  used  almost  the  same  words  in  The  Alchemist  (4.6). 

Dekker  holds  this  class  of  critics  up  to  ridicule  in  the  chapter 
on  'How  a  Gallant  should  behaue  himself  in  a  Play-house'  {Guls 
Horne-booke,  Pr.  Wks.  2.246). 

2.7.62.    Him  for  himself  (Franz  307;    Abbott  223). 

2.  7. 63.  in  artibus  magister.  Harrison  (p.  79)  gives  the  follow- 
ing requirements  for  the  degree  of  Master  of  Arts:  'From  thence 
also  [the  receipt  of  the  Bachelor's  degree]  giuing  their  minds  to 
more  perfect  knowledge  in  some  or  all  the  other  liberall  sciences, 
&  the  toongs,  they  rise  at  the  last  (to  wit,  after  other  three  or 
foure  yeeres)  to  be  called  masters  of  art,  ech  of  them  being  at  that 


I40  The  Cafe  is  Alterd  [Act  2 

time  reputed  for  a  doctor  in  his  facultie,  if  he  prof  esse  but  one 
of  the  said  sciences  (besides  philosophie)  or  for  his  generall  skill, 
if  he  be  exercised  in  them  all.' 

Dekker,  Guls  Horne-hooke  (Nott,  p.  21),  makes  reference  to  the 
gallant,  who,  'haunting  tauerns,  desires  to  take  the  bacchanalian 
degrees,  and  to  write  himself  in  arte  bibendi  magister.'  Cf.  Staple 
of  News  5. 180;   Fortunate  Isles  8.  71. 

2.  7. 68-9.  there  are  two  sorts  of  persons  that  most  commonly 
are  infectious  to  a  whole  auditory.    Cf.  Every  Man  Out  2. 19 : 

For  in  such  assemblies 
They  are  more  infectious  than  the  pestilence. 

2.  7.  73-6.     Notice  the  change  in  the  verb  from  singular  to  plural. 

For  a  plural  verb  used  after  the  singular  of  a  collective  noun,  see 

Franz  674,  675.     Cf.  M.  of  Venice  i.  i.  88:   'There  are  a  sort  of  men.' 

these  will  hisse  any  thing  that  mounts  aboue  their  grounded 

capacities.    Cf.  Cynthia's  Revels  2.214:    'A  fourth  miscalls  all  by 

the  name  of  fustian,  that  his  grounded  capacity  cannot  aspire  to.' 

2.  7. 80.    Caprichious?  stay,  that  word's  for  me.    Cf.  Staple  of 

News  5. 165 :    'Emissaries  ?  stay,  there's  a  fine  new  word.'     Other 

examples  of  this  character  will  be  found  in  the  Introduction,  p.  xix. 

2.7.82.    Never  was  sometimes   used  instead  of  ever    (Matzner 

3. 130;   Abbott  52;   Franz  408). 

2.7.83-8.  sit  disperst,  etc.  This  speech  is  found,  in  pait,  in 
Every  Man  Out  2. 19  (cf.  pp.  18,  86)  : 

How  monstrous  and  detested  is't,  to  see 

A  fellow,  that  has  neither  art  nor  brain,      > 

Sit  like  an  Aristarchus,  or  stark  ass. 

Taking  men's  lines,  with  a  tobacco  face, 

In  snuff,  still  spitting,  using  his  wry'd  looks, 

In  nature  of  a  vice,  to  wrest  and  turn 

The  good  aspect  of  those  that  shall  sit  near  him, 

From  what  they  do  behold !  O,  't  is  most  vile. 

See  Cynthia's  Revels  2.  213 :  'Another,  whom  it  hath  pleased  nature 
to  furnish  with  more  beard  than  brain,  prunes  his  mustaccio,  lisps, 
and,  with  some  score  of  affected  oaths,  sweare  down  all  that  sit 
about  him.'  In  Satiromastix  (Wks.  1.62),  Dekker  has  Horace  (sup- 
posed to  be  Jonson)  swear  'not  to  sit  in  a  Gallery  when  your 
Comedies  and  Enterludes  haue  entred  their  Actions,  and  there 
make  vile  and  bad  faces,  at  euerie  lyne,  to  make  a  Gentleman  haue 
an  eye  to  you.' 

Jonson  frequently  quoted  from  his  works,  or  reprinted  passages 
in  other  places  in  his  works:    Poetaster  2.516:    'Strength  of  my 


Act  2]  Notes  141 

country,'  etc.  {Epigram  108  8. 211);  Volpone  Z-'^Al'-  'Come,  my 
Celia'  (Forest  8.255)  ;  Alchemist  4.6:  'For  they  commend  writers' 
(Discoveries  9. 155)  ;  Devil  is  an  Ass  5.64:  'Do  but  look'  (Under- 
woods 8. 296)  ;  Staple  of  News  5. 177 :  'But  it  is  the  printing  I  am 
offended  at'  (News  from  New  World  7.  337)  ;  ib.  5.  241 :  'Send  in 
an  Arion'  (Neptune's  Triumph  8.29);  ib.  5.252:  'Oracle  of  the 
Bottle'  (Neptune's  Triumph  8.  25)  ;  cf.  Devil  is  an  Ass  5. 47 :  'Lock 
the  street-doors  fast'  (2.1.53).  Some  of  these  were  pointed  out 
by  Gifford  and  Cunningham. 

instead  of  a  vice.  The  Vice  was  a  character  in  the  moralities, 
and  in  many  of  the  comic  interludes.  His  name  varied  with  the 
nature  of  his  part  in  the  play:  Ambition,  Covetousness,  Fraud, 
Hypocrisy,  Infidelity,  Iniquity,  Sin,  Haphazard,  Merry  Report, 
Nichol  Newfangle.  The  Devil  and  the  Vice  sometimes  appeared  in 
the  same  play  (Lupton,  All  for  Money)  ;  sometimes  the  Devil  was 
alone  (Ingelend,  Disobedient  Child)  ;  or  the  Vice  was  alone  (Nice 
Wanton).  In  The  Devil  is  an  Ass,  Jonson  introduces  both  charac- 
ters, and  his  satirical  treatment  of  each  is  in  accord  with  judgments 
previously  passed  on  them  (Volpone  3.158;  Staple  of  News  5. 
186-7).  His  views  have  been  discussed  by  Johnson  in  his  edition  of 
the  above  play  (Yale  Studies  29.  xxiii-xl). 

The  following  are  some  examples :  In  The  Devil  is  an  Ass  (5. 10), 
Pug,  before  descending  to  the  earth,  asks  Satan  for  a  Vice  as  a 
companion : 

Sat.    What  Vice?    What  kind  wouldst  thou  have  it  of? 
Pug.    Why  any:    Fraud,  Or  Covetousness,  or  lady  Vanity, 
or  old  Iniquity; 

Epigram  115,  Town's  Honest  Man  8. 218 : 

Being  no  vicious  person,  but  the  Vice 
About  town ;   and  known  too,  at  that  price. 

Every  Man  Out  2.  19 ;    Conversations  9. 400.    See  also  Richard  III 
3.1.82:    'Like  the  formal  vice.  Iniquity';    T.  Night  4.2.132-8: 
I'll  be  with  you  again. 
In  a  trice, 

Like  to  the  old  Vice, 
Your  need  to  sustain ; 
Who,  with  dagger  of  lath, 
In  his  rage  and  his  wrath. 

Cries,  ah,  ha!  to  the  devil. 

Hamlet  3.4.98;  2  Hen.  IV  3.2.347.  See  stage-direction,  Histrio- 
Mastix  (Simpson,  Sch.  of  Shak.  2.40)  ;   and  Stubbes  (p.  166)  :    'In 


142  The  Cafe  is  Alterd  [Act  2 

enterludes  and  plaies  .  .  .  you  will  learne  to  plaie  the  vice,  to 
sweare,  teare,  and  blaspheme  both  heauen  and  earth.' 

A  study  of  the  Vice  has  been  made  by  Cushman  and  Eckhardt. 
For  shorter  discussions,  see  Chambers  (2. 203)  ;  Collier  (2. 186)  ; 
Douce  (497);  Schelling  (1.53);  Ward  (i.  109);  Gayley,  Plays 
(208),  Repr.  Eng.  Com.  (i.  xlvi).  Dr.  Thiimmel  has  two  articles  on 
'Shakespeare's  Fools'  (Jahrbuch  9.87-106;  11.78-96).  Cf.  'Der 
Humor  bei  Shakespeare'    by  Helene  Richter   (Jahrbuch  45.1-50). 

2. 7. 121.  Plantan.  'A  plant  of  the  genus  Plantago,  especially 
P.  major,  the  common  or  greater  plantain.  It  is  a  famihar  door- 
yard  weed,  with  large  spreading  leaves,  close  to  the  ground,  and 
slender  spikes;  it  is  a  native  of  Europe  and  temperate  Asia,  but  is 
now  found  nearly  everywhere.' — C.  D.  As  to  its  sanatory  proper- 
ties, Gerarde  (Herball,  1597,  PP.  340,  344)  has  this  to  say:  'Plantaine 
is  good  for  ulcers  that  are  of  hard  curation.  ...  It  staieth 
bleeding,  it  healeth  up  hollow  sores,  and  concauate  ulcers  as  well 
olde  as  new.  .  .  .  Galen,  Discorides,  and  Pliny  haue  prooued  it 
to  be  such  an  excellent  wounde  herbe,  that  it  presently  closeth  or 
shutteth  up  a  wounde  though  it  be  very  great  and  large.' 

See  Two  Noble  Kinsmen  1.2. 61:  'These  poore  sleight  sores 
Neede  not  a  plantin.'    Also  Rom.  and  Jul.  i.  2.  52 : 

Rom.    Your  plantain-leaf  is  excellent  for  that. 

Ben.    For  what,  I  pray  thee? 

Rom.  For  your  broken  shin. 

See  also  L.  L.  Lost  3.  i.  74. 

2.  7. 136.  he  tooke  it  single.  'Foote  has  imitated  this  scene  in 
his  Commissary,  vol.  2,  p.  72.' — G.  The  ending  of  the  bout  is 
similar,  but  there  the  similarity  ends. 

2.  7. 140.  cob-web.  Pliny  writes  regarding  the  astringent  and 
curative  properties  of  a  cobweb  (Hist.  Nat.  29. 6)  :  'Fracto  capiti 
aranei  tela  ex  oleo  et  aceto  imposita,  non  nisi  vulnere  sanato, 
abscedit.    Haec  et  vulneribus  tonstrinarum   sanguinem  sistit.' 

See  also  Bartholomaeus  Anglicus  (18. 11.346):  'The  cob-web 
that  is  white  and  cleane  .  .  .  hath  vertue  to  constraine,  joyne, 
and  to  restrayne,  and  therefore  it  stauncheth  bloud  that  runneth 
out  of  a  wound,  .  .  .  and  healeth  a  new  wound,  .  .  .  and 
withstandeth  swelling* ;  M.  N.  Dream  3. 1. 185 :  'I  shall  desire  you 
of  more  acquaintance,  good  Master  Cobweb:  if  I  cut  my  finger,  I 
shall  make  bold  with  you.' 

2.  7. 142-3.  breake  my  head,  and  then  giue  me  a  plaister.  A 
proverbial  expression.  Heywood  (p.  95)  and  Ray  (p.  122)  write  it: 
'Break  my  head,  and  bring  me  a  plaister.'     Hazlitt   (1907,  p.  33) 


Act  2]  Notes  143 

has :  'A  plaster  is  but  small  amends  for  a  broken  head.'  See  Har- 
vey, Letters  (i.  115)  :  'To  give  me  that  as  a  plaster  for  a  broakin 
pate.' 

2.  7. 147-8.  thou  art  not  lunatike,  art  thou?  and  thou  bee'st 
auoide  Mephostophiles.  See  Stephenson,  Elizabethan  People  (p. 
27)  :  'They  beheved  that  an  insane  person  was  possessed  of  a  devil; 
literally  that  an  evil  spirit  had  taken  up  his  abode  in  the  house  of 
clay,  and  that  the  only  way  to  drive  him  out  was  to  make  his 
dwelling  uncomfortable';   Com.  of  Errors  4.4.  57-61 : 

Pinch.    I  charge  thee,  Satan,  housed  within  this  man, 
To  yield  possession  to  my  holy  prayers 
And  to  thy  state  of  darkness  hie  thee  straight: 
I  conjure  thee  by  all  the  saints  in  heaven! 
Ant.  E.    Peace,  doting  wizard,  peace!  I  am  not  mad. 

Edgar's  feigned  madness  (Lear  3.4.37  ff.),  and  Malvolio's  incar- 
ceration (T.  Night  4.2.24  ff.)  are  familiar  instances.  See  also 
Fitzdottrel's  fit  in  The  Devil  is  an  Ass  5. 140-6 ;  Volpone  3. 308 ; 
and  cf .  Matt.  8.  28 ;   John  10. 20. 

2.  7. 148.  Mephostophiles.  'The  name  of  the  evil  spirit  to  whom 
Faust  (in  the  German  legend)  was  represented  to  have  sold  his 
soul.  Hence  applied  allusively  to  persons  (in  the  17th  c.  with 
reference  to  the  character  presented  in  Marlowe's  Doctor  Faustus, 
in  recent  use  to  that  presented  by  Goethe).'  The  name  'appears 
first  in  the  German  Faustbuch  1587  as  Mephostophiles;  of  unknown 
origin.  The  now  current  form  Mephistopheles,  and  the  abbreviation 
Mephisto,  come  from  Goethe's  Faust.' — N.  E.  D. 

Cunningham  calls  Gifford  to  task  for  substituting  Mephostophilus 
'for  the  Mephistophiles  of  the  quarto.'  The  latter  spelling  is  not 
found  in  the  copies  of  the  quarto  at  hand. 

See  Middleton,  Blurt,  Master-Constable  (Wks.  1.31):  'Sirrah 
Mephostophilis,  did  not  you  bring  letters';  Massinger,  The  Picture 
(Wks.  3.  222)  :  'You  know  How  to  resolve  yourself  what  my  intents 
are.  By  the  help  of  Mephostophilus,  and  your  picture';  Shirley, 
Young  Admiral  (Wks.  3. 145)  : 

'Flav.    Where  is  Mephistophilus  ? 
Pas.    No  more  devils,  if  you  love  me.' 

See  also  Merry  Wives  1. 1. 132;  Beaumont  and  Fletcher,  Wife  for  a 
Month  (Wks.  9.374);  Dekker,  Shoemaker's  Holiday  (Wks.  1.72), 
and  Deuils  Answer  (Pr.  Wks.  2.130).  Koeppel  gives  a  list  of 
references  to  Mephistophiles  (Ben  Jonson's  Wirkung  20.15). 

2.  7. 148-9.  Say  the  signe  should  be  in  Aries.  In  astrology,  the 
zodiac  was  regarded  as  a  prototype  of  the  human  body,  the  different 


144  The  Cafe  is  Alterd  [Act  3 

parts  of  which  all  had  their  corresponding  section  in  the  zodiac 
itself.  The  head  was  placed  in  Aries,  the  first  sign  of  the  zodiac. 
See  Encycl.  Brit.,  nth  ed.  A  reference  to  this  may  be  found  in 
Middleton,  Family  of  Love  (Wks.  3.  12). 

2,  7. 154.  get  a  white  of  an  egge,  and  a  little  flax.  Pliny,  Hist. 
Nat.  29.  II,  speaks  of  the  medicinal  properties  of  wool  and  eggs. 
About  the  white  of  an  egg  for  wounds,  he  says :  'Aiunt  et  vulnera 
candido  [ovorum]  glutinari.'  See  Lear  3.  7. 106 :  'I'll  fetch  some 
flax  and  whites  of  eggs  To  apply  to  his  bleeding  face.'  Cf.  Barth. 
Fair  4. 404 :  '  'Tis  but  a  blister  as  big  as  a  windgall.  I'll  take  it 
away  with  the  white  of  an  egg,  a  little  honey  and  hog's  grease.' 

2.  7. 157-8.  beare  away  the  bucklers.  Sometimes  used  as  a  quib- 
ble. 'To  carry  away  the  bucklers :  to  come  off  winner.' — N.  E.  D. 
The  latter  quotes  E.  Topsell,  Historic  of  Serpents,  1607  (644)  : 
'Severus  side  carryed  away  the  bucklers.'  See  also  Heywood,  Faire 
Maide  of  the  Exchange  ( Wks.  2.  56) ,  where,  after  Bowdler  has 
tried  in  vain  to  gain  a  favorable  reply  from  her.  Mall  Berry 
remarks :   'Why  then  ile  beare  the  bucklers  hence  away.' 

ACT  III 

3. 1. 4.  Remembrance  of  him.     Cf.  Franz  322. 

3. 1. 5.  Much.  Ironically  for  'not  at  all.'  See  Every  Man  Out 
2.42: 

Here's  a  device. 
To  charge  me  bring  my  grain  unto  the  markets: 
Ay,  much !  when  I  have  neither  barn  nor  garner. 

Volpone  3.272:  'But  you  shall  eat  it.  Much!'  Cf.  Alchemist  4. 
164.  In  Marlowe,  Faustus  (Wks.  1.298,  1616  and  1631  versions), 
the  vintner  demands  the  return  of  a  goblet.  Robin  answers,  *I 
much!  when  can  you  tell?'  See  also  2  Hen.  IV  2.4.142:  'God's 
light,  with  two  points  on  your  shoulder?  much';  T.  of  Athens  1.2. 
119;   and  Marston,  Malcontent  {Wks.  1.243). 

3. 1.6.  True  to  my  friend  in  cases  of  affection.  Cf.  Much  Ado 
2. 1, 182 : 

Friendship  is  constant  in  all  other  things 
Save  in  the  office  and  affairs  of  love. 

T.  G.  of  Verona  5. 4.  54 :   'In  love  Who  respects  a  friend  ?' 
3. 1. 16.    For  this  use  of  it,  see  Franz  297.    Cf.  As  You  Like  It 

1. 1. 149:   'It  is  the  stubbornest  young  fellow  of  France.' 
3. 1. 18.    louers  periuries  are  ridiculous.    Cf.  Ovid,  Ars  Amat. 

1.633:    'Juppiter  ex  alto  perjuria  ridet  amantum';    Rom.  and  Jul, 


Act  3]  Notes  145 

2.2.92:  'At  lovers'  perjuries,  They  say,  Jove  laughs';  Tibullus, 
Eleg.  3.  6.  49 ;  Propertius,  Eleg.  2. 16. 47 ;  Callimachus,  Epigr.  26.  3 ; 
Webster,  White  Devil  (Wks.  1. 119)  :  'Lovers'  oaths  are  like 
mariners'  prayers,  uttered  in  extremity' ;  Dryden,  Palamon  and 
Arcite  2.149;  Massinger,  Great  Duke  of  Florence  (Wks.  2.463); 
Underwoods  8.  391. 

3. 1. 19.  Haue  at  thee.  'Chiefly  used  in  the  imperative,  announc- 
ing the  speaker's  intent  to  get  at  or  attack.' — ^A^.  E.  D.  See  Chaucer, 
Legende  of  Good  Women  1383 :  'Have  at  the,  Jason !  now  thyn  horn 
is  blowe' ;  Appius  and  Virginia  (4.  119,  Dodsley,  1874):  'Have  at 
ye,  your  manhood  to  try.'  In  Every  Man  In  (1.57),  Brainworm, 
disguised,  seeing  Knowell  approach,  exclaims,  'My  master!  nay, 
faith,  have  at  you,'  and  then  proceeds  to  beg  alms.  Cf.  Devil  is 
an  Ass  5.  442,  p.  98,  note.  See  also  Rom.  and  Jul.  5.  3.  70 :  'Wilt 
thou  provoke  me?  then  have  at  thee,  boy!  (they  fight)';  ib.  (4.5. 
125)  :  'Then  have  at  you  with  my  wit!  I  will  dry-beat  you  with  an 
iron  wit';  Hamlet  5- 2. 313:  'Laer.  Have  at  you  now!  (Laertes 
wounds  Hamlet)';  Marlowe,  Massacre  at  Paris  (Wks.  2.278): 
'What,  are  ye  come  so  soon?  Have  at  ye,  sir!  (Shoots  at  Mugeroun 
and  kills  him).'  Additional  references  from  Shakespeare:  Com.  of 
Errors  3.1. 51;  W.  Tale  4.4.302;  2  Hen.  IV  1.2. 218;  Hen.  V 
3.7.129;  2  Hen.  VI  2.3.92;   Hen.  VIII  2.  2.85. 

3. 1.  23.  tau,  dery,  dery.  Perhaps  suggestive  of  some  old  ballad. 
Chappell  has  several  in  which  the  word  'dery'  appears  (i.  59,  62, 
277-8,  348,  352;  2.677).  Others  may  be  found  in  Hickscorner 
(361)  ;  Revesby  Sword  Play  (39)  ;  Ralph  Roister  Doister  2.3. 154; 
Wilson,  Cobbler's  Prophecy  (Act  i,  scene  i)  ;  Dekker,  Shoemaker's 
Holiday  (Wks.  1.50);  Nashe,  Summer's  Last  Will  (Wks.  3.258, 
263);    and  cf.  Nashe,  Saffron-Walden  (Wks.  3.10,  32). 

3.  2. 3.    He  has  beene  at  my  doore.    Plautus,  Aul.  388-9 : 

Sed  quid  ego  apertas  aedis  nostras  conspicor? 

Et  strepitust  intus.     Numnam  ego  compilor  miser? 

3.2.5.     In  reading  this  line,  ho  may  be  disregarded  (Abbott  512). 
3.  2. 8-11.    Now  in  Gods  name,  etc.     Plautus,  Aul.  204-7: 

Meg.    Credo  edepol,  ubi  mentionem  ego  fecero  de  filia, 
Mi  ut  despondeat,  sese  a  me  derideri  rebitur. 
Neque  illo  quisquamst  alter  hodie  ex  paupertate  parcior. 

Eve.    Di  me  seruant,  salua  res  est :    saluum  est, 

siquid  non  perit 

3.  2. 14.     Scan  (Abbott  478,  508)  : 

Sir,  Gods  |  my  life,  |  sir,  sir,  |  call  j  me  sir. 


X46  The  Cafe  is  Alterd  [Act  3 

3. 2. 17.  Would  you  abase  your  selfe  to  speake  to  me.  Plau- 
tus,  Aul.  184 : 

Non  temerariumst,  ubi  diues  blande  appellat 
pauperem. 

This  scene  was  pointed  out  by  Whalley  as  having  its  source  in 
Plautus. 

3.  2. 21.  My  gold  is  in  his  nostrels.  Plautus,  Aul.  216 :  'Aurum 
huic  olet.' 

3. 2. 22.  Breake  breast,  breake  heart,  fall  on  the  earth  my 
entrailes.  Cf .  Every  Man  Out  2.  30 :  'O,  I  could  eat  my  entrails, 
And  sink  my  soul  into  the  earth  with  sorrow' ;  ib.  2.  36 :  'Torment 
and  death !  break  head  and  brain  at  once' ;  Poetaster  2. 370-1 : 
'Crack,  eye-strings,  and  your  balls  Drop  into  earth' ;  Catiline  4. 240 : 
'O  my  breast,  break  quickly.' 

3.2.23.  For  the  use  of  with,  see  Abbott  193;  Franz  535;  for 
this  same,  cf.  Franz  317. 

3.  2.  24.     He  knowes  my  gold.     Plautus,  Aul.  185  : 

lam  illic  homo  aurum  scit  me  habere,  eo  me  salutat 

blandius. 

Notice  the  omission  of  the  preposition  with  the  first  know,  and 
its  use  with  the  second  (Abbott  200;   Franz  630). 
3.  2.  26-7.     This  was  written  by  Gifford  : 

Chris.    At  what,  sir?  what  is  it  you  mean? 
Jag.    I  ask. 

3.  2. 30-1.  I  haue  nothing  .  .  .  To  giue  with  my  poore  daugh- 
ter. Euclio  is  equally  insistent  about  his  poverty  (Plautus,  Aul. 
190-2)  : 

Meam  pauperiem  conqueror. 
Virginem  habeo  grandem,  dote  cassam  atque  inlocabilem, 
Neque  earn  queo  locare  quoiquam. 

3. 2. 34.  Gifford  divided  this  line  after  father,  each  part  being 
made  to  form  a  verse  with  the  preceding  and  succeeding  lines, 
respectively. 

3.2.43-5.    shall  I  haue  your  daughter.    Plautus,  ^m/.  237-9: 

Meg.  Tu  condicionem  hanc  accipe :    ausculta 

mihi 
Atque  eam  desponde  mi.        Eve.    At  nil  est  dotis  quod 

dem.        Meg.    Ne  duas. 
Dum  modo  morata  recte  ueniat,  dotatast  satis. 


Act  3]  Notes  147 

3.3.8-12.    He  has  forgot  me  sure,  etc.    Plautus,  Aul.  244-9: 
Meg.  Sed  ubi  hinc  est  homo? 

Abiit  neque  me  certiorem  fecit:    fastidit  mei. 
Quia  uidet  me  suam  amicitiam  uelle,  more  hominum 

facit. 
Nam  si  opulentus  it  petitum  pauperioris  gratiam, 
Pauper  metuit  congrediri.     Per  metum  male  rem 

gerit. 
Idem  quando  occasio  illaec  periit,  post  sero  cupit. 

We   would   say  a  wife.     The   indefinite   article   was   sometimes 
omitted  when  the  noun  stood  for  the  class  (Abbott  84). 
3.  3. 16-7.     These  were  written  by  Whalley  and  Gifford  : 
Whom  see  I?  my  good  lord? 
Count  F.     Stand  up,  good  father. 

3.3.21.    this  is  for  gold.    Plautus,  Aul.  194: 

Nunc  petit,  quom  pollicetur:   inhiat  aurum  ut 
deuoret. 

3. 3. 33.  In  reading,  the  elision  is  to  be  disregarded.  The  first 
syllable  of  enioy  is  accented  {Grammar  9.  266).  Allowing  the  elision, 
the  line  may  be  scanned  (Abbott  484;  cf.  example  from  Coriol. 
4-  5- 149)  : 

T'enio  |  y  no  |  thing  vn  |  derneath  |  the  sonne. 

3.3.36.     Scan  (Abbott  485,  512)  : 

How  she  I  had  all  |  she  weares,  |  her  war  |  me  shooes. 

The  expression  God  wot  is  evidently  not  to  be  read  as  a  part  of  the 
verse. 
3.3.38.     In  for  on  (Abbott  161;    Franz  503). 
3- 3- 45-50.     Mock  not  the  poore,  etc.     Plautus,  Aul.  220-4: 
Eve.    Heia,  Megadore,  baud  decorum  facinus  tuis 
factis  facis, 
Vt  inopem  atque  innoxium  abs  te  atque  abs  tuis  me 

inrideas. 
Nam  de  te  neque  re  neque  uerbis  merui,  ut  faceres 
quod  facis. 
Meg.    Neque  edepol  ego  te  derisum  uenio  neque 
derideo: 
Neque  dignum  arbitror. 

3. 3. 46.  pouerty  is  the  precious  gift  of  God.  See  Lucan,  Phar- 
salia  5. 527 : 


148  The  Cafe  is  Alterd  [Act  3 

O  vitae  tuta  facultas 
Pauperis,  angustique  lares !  O  munera  nondum 
Intellecta  deum. 

Cf.   Ecclesiastes   5.  19.     In  this   connection,   it  will   be   remembered 
that  Jonson's  critics  sought  to  wound  him  by  referring  to  his  poverty 
{Discoveries  9. 179-80). 
3.  3. 50.    Scan  (Abbott  454)  : 

When  I  I  mocke  poorenes,  |  then  heau  |  ens  make  |  me  poore. 

An  extra  syllable  was  frequently  added  before  a  pause,  especially 
at  the  end  of  a  line;    and  sometimes,  as  here,  at  the  end  of  the 
second  foot. 
For  the  correlation  of  when    .     .     .     then,  see  Franz  554,  Anm.  3. 
'The  plural  heavens  was  formerly  used,  esp.  in  Biblical  language, 
in  the  same  sense  as  in  the  sing.' — N.  E.  D.    Cf.  Macbeth  4.  3.  231. 
3.4. 16-7.     Gifford  wrote  the  verse: 
And  that  is  all. 

Count  F.    That  is  enough,  enough. 

3. 4. 34-42.  First  in  Vicenza,  etc.  The  count's  recital  of  his 
reverses  resembles  Hegio's  briefer  enumeration  after  he  discovers 
the  trick  of  the  exchange  of  names  (Plautus,  Capt.  759-6i).  Cf. 
note  on  i.  5. 181-2. 

3. 4. 37.     Which  was  sometimes  used  with  a  repeated  antecedent, 
or  with  a  noun  of  similar  meaning   (Matzner  3.238;    Franz  337; 
Abbott  269). 
3.4.48.     That  could  be  omitted  (Franz  551). 
3.  5. 1-5.     He's  gone,  etc.     Plautus,  Aul.  265-7  '• 

lUic  hinc  abiit.    Di  immortales,  obsecro,  aurum 

quid  ualet. 
Credo  ego  ilium  iam  indaudisse  mihi  esse  thensaurum 

domi: 
Id  inhiat,  ea  affinitatem  hanc  obstinauit  gratia. 

The  source  of  this  scene  was  referred  to  by  Gififord. 
Read  villanies  as  a  disyllabic  (Abbott  468). 

3.  5. 4-26.  The  selection  of  these  lines  by  Lamb  for  his  Specimens 
has  been  pointed  out  by  Cunningham. 

3. 5. 5-  What  seruile  villanies,  men  will  do  for  gold.  Cf .  Virgil, 
^n.  3.  56-7 : 

Quid  non  mortalia  pectora  cogis, 
Auri  sacra  fames ! 

3.5.7.     Read  lying  as  a  monosyllable  (Abbott  470). 


Act  4]  Notes  149 

3.5.9.    Enuies  is  accented  on  the  second  syllable  (Abbott  490). 
3. 5.  II.     For  the  use  of   o  before  a  noun,  as   in  a  worke,  see 
Grammar  9. 299 ;   Abbott  24,  140 ;    Franz  238. 
3. 5. 16-28.    In  my  deere  life,  etc.    Plautus,  Aul.  608-9,  614-5 : 
Tu  modo  caue  quoiquam  indicassis  aurum  meum 

esse  istic,  Fides : 
Non  metuo  ne  quisquam  inueniat:    ita  probe  in  late- 

bris  situmst.    .    .    . 
Vide,  Fides,  etiam  atque  etiam  nunc,  saluam  ut  aulam 

abs  te  auf eram : 
Tuae  fidei  concredidi  aurum:    in  tuo  luco  et  fano 
modost  situm. 

3. 5. 17-8.    Scarce  lawfully  begotten,  but  yet  gotten. 
And  thats  enough. 

Cf.  Every  Man  In  i.  56: 
Get  money;    still,  get  money,  boy;    No  matter  by  what  means. 

3.5.22-3.    He  take  no  leaue,  .   .   .   But  see  thee  euery  minute. 

Plautus,  Aul.  449: 

Hoc  quidem  hercle  quoquo  ibo  mecum  erit, 
mecum  feram. 

3. 5. 26.    Scan  (Abbott  492,  468)  : 
With  my  |  face  to  |  ward  thee,  |  with  hum  |  ble  curtesies. 

3. 5. 28.  Crawford  has  pointed  out  that  this  line  is  found  in 
Bodenham's  Belvedere,  p.  128  (Notes  and  Queries  10. 11. 41-2). 

ACT  IV 

Actus  3.  [4.]  Scaene  i.  The  quarto  has  no  further  division  of 
acts  and  scenes.  These  have  been  supplied  without  comment  where 
the  division  is  obvious. 

4. 1. 1-4.  Cf.  Every  Man  Out  2.59:  'You  are  not  ill  come, 
neighbour  Sordido,  though  I  have  not  yet  said,  well-come.' 

4. 1. 16.     For  this  use  of  valiant,  see  Franz  686.     Cf.  i  Hen.  IV 
2.  4.  465  :    'A  goodly  portly  man,  i' faith,  and  a  corpulent.' 
4. 1. 34-7.     Cf .  Catiline  4. 265  : 

May  my  brain 
Resolve  to  water,  and  my  blood  turn  phlegm, 
My  hands  drop  off  unworthy  of  my  sword. 

4.1.44.  The  ellipsis  of  it  was  common  before  please;  and  so 
meant  if,  provided  that  (Franz  306,  565;   Abbott  404,  133). 


15©  The  Cafe  is  Alterd  [Act  4 

4.1.45-7.  your  noble  feete  may  measure,  etc.  Plautus,  Capt. 
"4-5: 

Sinito  ambulare,  si  foris  si  intus  uolent: 
Sed  uti  adseruentur  magna  diligentia. 

4. 1. 55-6.    And  we  must  now  be  carefull  to  maintaine 
This  error  strongly. 

Plautus,  Capt.  223-6: 

Nam  si  erus  tu  mi  es  atque  ego  me  tuom  esse  ser- 

uom  assimulo, 
Tamen  uiso  opust,  cautost  opus,  ut  hoc  sobrie  sine- 

que  arbitris 
Accurate  hoc  agatur,  docte  et  diligenter. 

4. 1. 58-61.  For  should  we  .  .  .  Appeare  our  selues,  etc.  Plau- 
tus, Capt.  705-6 : 

Quia  uera  obessent  illi  quoi  operam  dabam: 
Nunc  falsa  prosunt. 

Read  iealousie  as  a  disyllable  (Abbott  468). 
4. 1. 64-6.  A  secret  in  his  mouth 

Is  like  a  wild  bird  put  into  a  cage,  etc. 

Plautus,  Capt.  116-8: 

Liber  captiuos  auis  ferae  consimilis  est: 

Semel  fugiendi  si  datast  occasio, 

Satis  est — numquam  postilla  possis  prendere. 

4. 1. 68.    Gifford  placed  this  with  the  preceding  line. 
4. 1. 70.    That  he  is  Gasper,  and  I  true  Chamount.     Plautus, 
Capt.  249: 

Scio  quidem  me  te  esse  nunc  et  te  esse  me. 

4. 1. 75-6.    for  all  your  long  eare.    Cf .  Sejanus  3.  57 : 
Yea,  had  Sejanus  both  his  ears  as  long 
As  to  my  inmost  closet. 

The  preposition  for  was  used  as  a  preventitive,  meaning  'in  spite 
of.'    See  N.  E.  D.  ( s. v. /or,  23)  ;  Abbott  154;   Grammar  g.  315. 

4. 2. 2.  Giflford  arranged  O  belike  so  as  to  form  a  verse  with 
the  preceding  line. 

4. 2.  II.  This  sometimes  stood  for  the  one  designated  (Franz 
313).  Cf.  Epiccene  3.  361 :  'This  too,  with  whom  you  are  to  marry'; 
Hen.  V  4.4.78:   'They  are  both  hanged ;   and  so  would  this  be.' 


Act  4]  Notes  151 

4. 2,  25-g.  But  sure  [since]  it  is  the  pleasure  of  our  fates,  etc. 
Plautus,  Capt.  195-6: 

Si  di  immortales  id  uoluerunt  uos  banc  aerumnam 

exsequi, 
Decet  id  pati  animo  aequo :    si  id  f acietis,  leuior 

labos  erit. 

See  Terence,  Phormio  1.2.88:  'Quod  fors  feret  feremus  aequo 
animo.'  Cf.  Virgil,  ^n.  5.710:  'Quidquid  erit,  superanda  omnis 
f ortuna  f erenda  est' ;  and  3  Hen.  VI  4.  3.  58 :  'What  fates  impose, 
that  men  must  needs  abide.' 

4.  2.  26.  wrack't  on  Fortunes  wheele.  'Her  emblem  is  a  wheel, 
betokening  vicissitude  {N.  E.  D.)  :    1300  Cursor  M  32719: 

Dame  fortune  turnes  than  hir  quele 
And  castes  vs  dun  vntil  a  wele.' 

Cf.  Cicero,  In  Pison.  Oratio  10.  22 :  'Fortunae  rotam  pertimescere* ; 
Tibull.  1.5-70;  Prop.  2.8.8;  Hen.  V  3.6.28:  'Giddy  Fortune's 
furious  fickle  wheel';    Chaucer,  Troilus  1.850: 

For  if  her  wheel  stinte  any  thing  to  torne, 
Than  cessed  she  Fortune  anon  to  be. 

Other  examples  may  be  found  in  Chaucer,  Knight's  Tale  925 ; 
Sejanus  3.144;  Prince  Henry's  Barriers  7. 160-1 ;  Underwoods  8. 
334;  Discoveries  9.178;  As  You  Like  It  1.2.35;  Hen.  V  3.6.34; 
3  Hen.  VI  4.3.47;  Hamlet  2.2.517;  Lear  2.2. 180;  Ant.  and  Cleo. 
4.15.44;  Marlowe,  Edward  II  (Wks.  2.214);  Overbury,  Charac- 
ters, p.  119;  Seruingmans  Comfort,  p.  166.  Cumberland  wrote  a 
comedy,  The  Wheel  of  Fortune  (1779). 

For  an  account  of  the  various  attributes  of  Fortune,  see  Roscher, 
AusfUhrliches  Lexikon  der  Griechischen  und  Rbmischen  Mythologie 
(Leipzig,  1884-1886). 

4.  2.  27.  Read  patience  as  a  trisyllable  (Abbott  479)  ;  likewise  in 
4-  8.  53- 

4.  2.  34.    fortuna  non  mutuat  genus.    From  Horace,  Epod.  4.  5-6 : 

Licet  superbus  ambules  pecunia, 
Fortuna  non  mutat  genus. 

4.  2. 49.  giue  a  bowle  of  rich  wine  to  the  health  of.  Healths 
were  drunk  with  head  bare :  Epicaene  3.  388 :  'Have  her  health  drunk 
as  often,  as  bare,  and  as  loud  as  the  best  of  them' ;  Dekker,  Honest 
Whore,  Pt.  2  {Wks.  2. 11 1)  :  'Be  bare.  For  in  the  Caps  praise  all 
of  you  haue  share';   Chapman,  All  Fooles  {Wks.  1. 176)  : 


15*  The  Cafe  is  Alterd  [Act  4 

Dariot.    Well,  Ladies  heere  is  to  your  honourd  healths. 
For.    What  Dariotto,  without  hat  or  knee? 

The  last  example  indicates  another  custom,  drinking  while  kneeling. 
A  few  lines  below,  Dariot  revises  his  toast :  'Heere's  to  the  Ladies 
on  my  knees.'  See  Nashe,  Summer's  Last  Will  (Wks.  3.267): 
'Bacchus.  Crouch,  crouch  on  your  knees,  foole,  when  you  pledge 
god  Bacchus.'     See  also  Dekker,  Honest  Whore,  Pt.  2  (Wks.  2.  162). 

The  arms  were  sometimes  pierced,  and  blood  mixed  with  the 
wine.  See  Cynthia's  Revels  2.  280  (cf.  p.  357)  :  'Stabbing  himself, 
and  drinking  healths';  Dekker,  Honest  Whore,  Pt.  i  {Wks.  2.38)  : 
'How  many  Gallants  have  drunke  healths  to  me.  Out  of  their  dag- 
ger'd  arms';  Cook,  Greenes  Tu  Quoque  (7.66,  Dodsley,  1825):  'I 
will  .  .  .  stab  him  that  will  not  pledge  your  health,  and  with  a 
dagger  pierce  a  vein,  to  drink  a  full  health  to  you.'  See  also  Mars- 
ton,  Dutch  Courtesan  (Wks.  2.70)  ;  Middleton,  Trick  to  Catch  the 
Old  One  (Wks.  2.352);  Catiline  4.208,  and  cf.  Sallust,  Bellum 
Catilin.  22. 

Brand  (2.325-37)  has  a  discussion  on  the  subject  of  pledging. 
Dodsley  (1825,  3.242)  quotes  a  passage  from  Barnaby  Riche,  who 
wrote  an  article  on  the  forms  prescribed  in  drinking  healths :  The 
Irish  Hubbub,  or  the  English  Hue  and  Crie  (The  Ruffing  Order  of 
drinking  Healths  used  by  the  Spendalls  of  this  age,  1622,  p.  24). 

4. 2. 51.  Passe.  This  word  was  intended  either  as  a  command 
for  the  soldiers  who  attended  upon  Maximilian  to  leave  the  room, 
or  as  a  stage-direction.  The  latter  is  more  probable.  The  word 
was  used  under  similar  conditions  in  Julius  Ccesar  i.  2. 24,  and 
W.  A.  Wright,  in  his  notes  on  the  play,  considers  the  word  a 
stage-direction. 

4.2.54.  browne  study.  'A  state  of  mental  abstraction  or  mus- 
ing: gloomy  meditations.' — N.  E.  D.  The  latter  quotes  Diceplay 
(1532)  29.6  (Percy  Soc,  London,  1849):  'Lack  of  company  will 
soon  lead  a  man  into  a  brown  study.'  See  Marriage  of  Witt  and 
Wisdome  (1579)  13  (Shak.  Soc,  1846)  :  'I  must  be  firme  to  bring 
him  out  of  his  Broune  stodie' ;  Cynthia's  Revels  2.  321 :  '  'T  is  the 
horsestart  out  o'  the  brown  study';  Greene,  Philomela  (Wks.  11. 
120)  :  'Signeor  Giouanni  seeing  the  Countie  in  a  brown  study, 
wakened  him  of  his  muse  with  a  merrie  greeting.'  Greene  has 
other  instances  :  Wks.  6.  27 ;  10. 17 ;  13. 96 ;  14.  93.  The  expres- 
sion is  discussed  in  Notes  and  Queries  (3.  i.  190;    6.2.408;   6.3.54; 

6.  5-53)  • 

4.2.55.  Your  habit  and  your  thoughts  are  of  two  colours. 
Cf.  Every  Man  Out  2. 116:  'My  thoughts  and  I  were  of  another 
world.' 


Act  4]  Notes  153 

4. 2. 56-7.     Whalley    and    Gifford    made    two    verses    here,    the 
division  being  after  Chamont. 
4.  2.  60.     Cupid  hath  tane  his  stand  in  both  your  eyes.     Cf . 

Tottel's  Miscellany  ('A  praise  of  his  Ladye')  : 

In  eche  of  her  two  cristall  eyes 
Smileth  a  naked  boye. 

Dekker  used  the  same  figure  in  Old  Fortunatus  (Wks.  1.95): 

Wish  but  for  beauty,  and  within  thine  eyes 
Two  naked  Cupids  amorously  shall  swim. 

4. 2.  62-3.  a  Saint.  Another  Bridget.  Probably  a  reference  to 
St.  Bridget  of  Ireland  (c.  452-523),  though  Sweden  has  one  of  the 
same  name.  Regarding  the  former,  the  Encycl.  Brit,  (nth  ed.) 
says :  'Refusing  to  marry,  she  chose  a  life  of  seclusion,  making 
her  cell,  the  first  in  Ireland,  under  a  large  oak  tree,  whence  the 
place  is  called  Kil-dara,  "the  church  of  the  oak."  The  city  of 
Kildare  is  supposed  to  derive  its  name  from  St.  Brigid's  cell.  Her 
reputation  was  not  confined  to  Ireland,  for,  under  the  name  of  St. 
Bride,  she  became  a  favorite  saint  in  England.'  Another  account 
will  be  found  in  Mrs.  Jameson's  Legends  of  the  Monastic  Orders 
(pp.  195-7)- 

4.  2. 66.  turne  tippet.  'To  turn  one's  coat — that  is,  make  a  com- 
plete change  in  one's  course  or  condition.' — C.  D.  See  Merry  Devil 
of  Edmonton  3. 2.  138 :  'The  Nun  will  soone  at  night  turne  tippit ; 
if  I  can  but  deuise  to  quit  her  cleanly  of  the  Nunry,  she  is  mine 
owne';  Lyly,  Euphues  to  Philautus  (Wks.  1.246):  'If  Lucilla 
reade  this  trifle,  she  will  straight  proclaime  Euphues  for  a  traytour, 
.  .  .  seeing  mee  tourne  my  tippet';  Greene,  Mamillia  {Wks.  2. 
156)  :  'They  accuse  women  of  wauering  when  as  they  themselues 
are  such  weathercocks  as  euerie  wind  can  turne  their  tippets.' 
Greene  has  several  other  examples  {Wks.  3.97,  231;  4.18).  See 
also  Beaumont  and  Fletcher,  Mounsieur  Thomas  (Wks.  7.332): 

You  must  turn  tippet, 
And  suddenly,  and  truly,  and  discreetly, 
Put  on  the  shape  of  order  and  humanity. 

Heywood  has  the  phrase  in  his  Proverbs  (pp.  54,  178-80). 

4. 2.  68-g.  Cypres  He  .  .  .  Maddam  Venus.  A  pun  on  Cypress 
(or  Cyprus),  the  island,  where  Venus  was  worshiped,  and  Cypress^ 
a  thin  transparent  material,  originally  imported  from  or  through 
Cyprus,  which,  when  black,  was  used  for  mourning.  The  sense  is, 
Phoenixella,   having   lived   so    long   in   Cyprus    (in  black),   would 


154  The  Cafe  is  Alterd  [Act  4 

eventually  be  influenced  by  the  'Cyprean  Queen.'  The  same  quibble 
was  used  by  Shirley,  Love  Tricks  (IV ks.  1.42)  : 

'Gorg.    Goddess  of  Cyprus — 

Bub.  Stay;  I  do  not  like  that  word  Cyprus,  for  she'll  think  I 
mean  to  make  hatbands  of  her :  cannot  you  call  her  taffata  goddess  ? 
or,  if  you  go  to  stuff,  cloth  of  gold  were  richer. 

Gorg.  Oh,  there's  a  conceit ;  Cyprus  is  the  emblem  of  mourning, 
and  here  by  Cs^rus  you  declare  how  much  you  pine  and  mourn 
after  her,  sir.' 

See  Staple  of  News  5.  181 : 

Why,  this  is  better  far,  than  to  wear  cypress, 
Dull  smutting  gloves,  or  melancholy  blacks. 

For  other  examples,  see  Every  Man  In  i.  24 ;  Epigram  73  8. 183 ; 
W.  Tale  4.4.221;  T.  Night  3.1. 132;  Heywood,  Foure  P's  241; 
Dekker,  Guls  Horne-booke  (Nott,  p.  100)  ;  Middleton,  The  Puritan 
(Act  I,  scene  i,   'Enter')  ;   Milton,  //  Penseroso  35. 

Among  the  Romans,  cypress,  the  evergreen  tree,  was  sacred  to 
Pluto.  It  was  an  emblem  of  mourning,  and  sprigs  of  the  tree 
were  used  at  funerals.  See  Pliny,  Hist.  Nat.  16.  33 ;  Horace,  Od. 
2. 14.  23,  and  Epod.  5. 18 ;  Virgil,  Mn.  3. 64,  and  6.  216 ;  T.  Night 
2- 4- S3;  S'p&nser,  Faerie  Que ene  2.  \.  60,  2sy6.  Daphnaida  S2g',  Poole, 
English  Parnassus  (p.  561,  London,  1657)  ;  Prior,  Poems  ('Ode 
.    .    .    Queen's  Death'    1.41,  London,  1721). 

4. 2. 69.  'THe  was  inserted  in  a  few  phrases  which  had  not, 
though  they  now  have,  become  adverbial'  (Abbott  91).  Cf.  Franz 
268. 

4. 3.  2-3.  heres  an  excellent  place  for  vs  to  practise  in.  The 
extravagant  salutations  rehearsed  by  the  two  pages  remind  us  of 
a  somewhat  similar  scene  in  Cynthia's  Revels  2.  313-35.  Jonson  had 
little  sympathy  with  the  affectations  of  those  who  fenced,  hunted 
(cf.  Every  Man  In  1.9),  courted,  or  performed  the  customary 
social  amenities  by  book  or  rote.  Cf .  As  You  Like  It  5.  4. 44  fif. ; 
Rom.  and  Jul.  2.  4. 20  ff.  The  instance  in  Moliere,  Les  Precieuses 
Ridicules,  is  familiar,  where  affected  language  and  manners  are 
satirized  in  the  persons  of  the  two  masquerading  valets,  the  Marquis 
of  Mascarille  and  the  Viscount  of  Jodelet. 

4. 3. 14-6.  Mounsieur  Onion,  .  .  .  me  ha  see  two,  tree,  foure 
hundra  towsand  of  your  Cousan  hang.  Cf.  Every  Man  In  i.  79-80: 
'Cob.  .  .  .  (pulls  out  a  red  herring.)  ...  I  could  weep  salt- 
water enough  now  to  preserve  the  lives  of  ten  thousand  thousand 
of  my  kin.'  Cf.  Masque  of  Augurs  7.  419 :  'As  it  be  two,  dree,  veir, 
vife  towsand  mile  off.' 


Act  4]  Notes  155 

Pacue  no  doubt  refers  to  the  ropes  of  onions  strung  or  plaited 
together  that  were  displayed  at  the  markets  and  fairs.  See  note 
on  4.  7.  66.  A  fair  which  is  known  as  'Onion  Fair'  is  still  held  at 
Chertsey,  Surrey,  on  Sept.  25  (Holy  Rood  day).  It  derives  its 
name  from  the  quantity  of  onions  brought  for  sale  (Brailey  and 
Britton,  History  of  Surrey  2.  191). 

4.  3.  79-80.  from  the  crowne  of  the  head,  etc.  The  proverb  is 
humorously  reversed  in  Tale  of  a  Tub  6.  195 :  'From  the  sole  of  the 
head  To  the  crown  of  the  foot.'  See  Much  Ado  3.2.9:  'From  the 
crown  of  his  head  to  the  sole  of  his  foot,  he  is  all  mirth' ;  Beau- 
mont and  Fletcher,  Honest  Man's  Fortune  {IV ks.  3.  368)  :  'I  am  all 
lead ;  from  the  crown  of  the  head  to  the  sole  of  the  foot,  not  a 
sound  bone  about  me.'  See  also  Tempest  4.  i.  233  ;  Macbeth  i.  5. 43 ; 
Middleton,  A  Mad  World  (IV ks.  3.256). 

4. 3. 82-3.  time  was,  time  is,  and  time  shall  be.  A  probable 
echo  of  the  words  spoken  by  the  brazen  head  in  Greene,  Friar  Bacon 
and  Friar  Bungay  ( IV ks.  13.  79)  :  'Time  is  .  .  .  Time  was  .  .  . 
Time  is  past.'  They  are  quoted  by  Overbury  in  A  Maquerela  (p. 
99).  Cf.  Every  Man  In  1.29:  'Oh,  an  my  house  were  the  Brazen- 
head  now !  faith  it  would  e'en  speak  Moe  fools  yet.'  Koeppel  gives 
a  list  of  references  to  the  'brazen  head'  {Ben  Jonson's  Wirkung 
20.43)- 

4. 4. 4-5.  by  our  loue  .  .  .  The  sacred  spheare  wherein  our 
soules  are  knit.    Plautus,  Capt.  402 : 

Inter  nos  fuisse  ingenio  baud  discordabili. 

Cf.  Mucedorus  i.  i.  4-5  : 

Whose  deare  affections  boosome  with  my  heart. 
And  keepe  their  domination  in  one  orbe. 

4.  4. 17.  more  precious  then  thy  name.  Chamont  addressed  him 
as  lasper  at  the  opening  of  this  scene. 

4. 4.  28.  And  as  his  owne  respected  him  to  death.  In  Plautus 
the  boy  is  sold  as  a  slave  {Capt.,  Prol.  19-20)  : 

Is  postquam  hunc  emit,  dedit  eum  huic  gnato  suo 
Peculiarem,  quia  quasi  una  aetas  erat. 

Cf .  ib.  273 :    'Nee  mihi  secus  erat  quam  si  essem  familiaris  filius.' 
4.4.31.     Read  violence  as  a  disyllable  (Abbott  468). 
4. 5. 1-2.    no  more  of  thy  songs  and  sonets.    Cf .  Poetaster  2. 

374 :    'Away  with  your  songs  and  sonnets.' 
A  jocular  allusion  to  the  poetical  miscellanies,  and  the  collections 

of  songs  that  were  being  published  at  the  time.     Of  the  former, 

Tottel's  Miscellany  of  Songes  and  Sonnettes  (1557)  was  the  first  of 


156  The  Cafe  is  Alterd  [Act  4 

any  importance.  Of  songs  and  music,  Byrd  and  Morley  were  noted 
compilers  and  publishers.  In  1587  Byrd  published  a  collection 
called  Psabnes,  Sonets,  and  Songs  of  sadnes  and  pietie.  Cf.  Merry 
Wives  1. 1.206:  'I  had  rather  than  forty  shillings  I  had  my  Book 
of  Songs  and  Sonnets  here';   Staple  of  News  5.266: 

His  lyrics,  and  his  madrigals ;    fine  songs 
Which  we  will  have  at  supper. 

Cf.  Every  Man  In  1. 104. 

4.  5. 4-5.  in  an  Academy  still.  He  is  still  in  mourning.  Black 
seems  to  have  been  the  color  worn  by  scholars.     Cf .  New  Inn  5.  335 : 

Lord  L.    Is  he  a  scholar? 
Host.    Nothing  less ; 

But  colours  for  it,  as  you  see;  wears  black. 

Overbury  (p.  87)  writes:  'A  meere  scholer  is  an  intelligible  asse: 
or  a  silly  fellow  in  blacke.'  See  Greene,  Friar  Bacon  and  Friar 
Bungay  (IV ks.  13.  56)  : 

The  towne  gorgeous  with  high  built  coUedges, 
And  schoUers  seemely  in  their  graue  attire. 

And  Dekker,  lests  (Pr.  Wks.  2. 275)  :  'He  tooke  him  [the  Preci- 
sian] to  be  a  scholler,  because  he  went  all  in  blacke.'  In  Shirley's 
Lady  of  Pleasure  {Wks.  4.25-6)  Lady  Bornwell  is  on  the  point  of 
fainting  when  she  sees  her  nephew  in  his  black  college  attire. 
See  Earle,  Micro-cosmographie   (p.  45,  Engl.  Reprints,  ed.  Arber). 

4. 5. 7.  downe  the  winde.  A  term  in  hawking,  often  used 
figuratively  to  mean :  'toward  ruin  or  adversity.' — C.  D.  See  Mad- 
den, Diary  of  Master  William  Silence  (p.  199)  :  'If  you  would  get 
rid  of  an  irreclaimable  haggard,  you  would  whistle  her  off  and  let 
her  down  the  wind,  to  prey  at  fortune';  cf.  Othello  3.3.259-63. 
For  the  figurative  use,  see  Taylor,  Motto  (p.  51)  :  'But  his  good 
dayes  are  past,  he's  downe  the  winde' ;  Breton,  Courtier  and  Coun- 
try-man (p.  177);    Pepys,  Diary  3.22  (Jan.  25,  1662-1663). 

In  Every  Man  In  (1.9),  Jonson  pays  his  respects  to  those,  who, 
to  gain  'skill  in  the  hawking  and  hunting  language,'  purchased 
books  on  the  subject.  That  he  had  no  fault  to  find  in  the  sport 
itself,  nor  any  censure  for  those  who  pursued  it  for  its  own  sake, 
may  be  seen  from  his  epigram.  To  Sir  Henry  Goodyere  8. 188. 

For  works  on  hawking,  see  Harting,  Bibliotheca  Accipitraria; 
Turbervile,  Booke  of  Falconrie;  Latham,  Falconry;  and  Michell, 
Art  and  Practice  of  Hawking.  Strutt  (pp.  24-38)  gives  an  account 
of  this  sport. 


Act  4]  Notes  157 

4.5.13-4.  super  negulum.  Nares  says  of  supernaculum:  'A 
kind  of  mock-Latin  term,  intended  to  mean  upon  the  nail.  A  com- 
mon term  among  topers.'  He  refers  to  a  pamphlet  printed  in  Leipsic 
in  1746,  in  which  the  derivation  is  discussed.  The  title  is  De  Super- 
naculo  Anglorum,  and  the  derivation  is  stated  thus:  'Est  vox 
hybrida,  ex  Latina  prepositione  super  et  Germana  nagel  (a  nail) 
composita.'  In  a  side  note  to  Nashe,  Pierce  Penilesse  (JVks.  1.205), 
we  read:  'Drinking  super  nagulum,  a  deuise  of  drinking  new  come 
out  of  Fraunce ;  which  is,  after  a  man  hath  turnd  vp  the  bottom 
of  the  cup,  to  drop  it  on  his  naile,  &  make  a  pearle  with  that  is 
left;  which,  if  it  shed,  &  he  cannot  make  stand  on,  by  reason  thers 
too  much,  he  must  drinke  againe  for  his  pennance.'  The  note  is 
a  comment  on :  'Now,  he  is  no  body  that  cannot  drinke  super 
nagulum.'  See  Nashe,  Summer's  Last  Will  (IVks.  3.266)  :  'A  vous 
viounsicur  Winter,  a  frolick  vpsy  freese,  crosse,  ho,  super  nagulum.' 
The  stage-direction  reads :  'Knockes  the  lacke  [cup]  vpon  his 
thumbe.'  See  also  Massinger,  Virgin-Martyr  (Wks.  1.26):  'Bac- 
chus, the  god  of  brew'd  wine,  and  sugar,  grand  patron  of  rob-pots, 
upsy  freesy  tipplers,  and  super-naculum  takers.'  Cf.  Seruingmans 
Comfort  (p.  152).  A  discussion  of  the  term,  with  references,  is  to 
be  found  in  Notes  and  Queries  (4.1.460,  559)  and  Brand  (2.238). 
Cf .  the  proverb :  'Make  a  pearl  on  your  nail'  (Hazlitt,  1869,  p. 
271).     See  Dekker,  Honest  Whore,  Pt.  i   (Wks.  2.22): 

I  ha  done  you  right  on  my  thumb  naile, 
What  will  you  pledge  me  now? 

4. 5. 18.  For  that  let  the  higher  powers  worke.  Cf.  Horace, 
Od.  1.9.9;    'Permitte  divis  cetera.' 

4. 5. 21-2.  in  the  crotchets  already.  The  N.  E.  D.  gives  this 
definition  of  crotchet:  'A  whimsical  fancy;  a  perverse  conceit;  a 
peculiar  notion  on  some  point  (usually  considered  unimportant) 
held  by  an  individual  in  opposition  to  common  opinion.  The  origin 
of  this  sense  is  obscure.  It  has  the  radical  notion  of  "mental  twist 
or  crook." '  Hazlitt  has  'To  have  crotchets  in  one's  crown'  in  his 
collection  of  Proverbs,  p.  419.  Jonson  uses  the  same  word  again 
in  Volpone  3.  310 :  'I  must  have  my  crotchets,  and  my  conundrums.' 
Cf.  Merry  Wives  2.  i.  159:  'Faith,  thou  hast  some  crotchets  in  thy 
head';  Meas.  for  Meas.  3.2.135;  Much  Ado  2.3.158;  Brewer, 
Lingua  (5.165,  Dodsley,  1825). 

4.  5.  27.  no  more  of  this  surquedry.  Cf.  Chaucer,  Parson's  Tale 
403 :  'Presumpcioun  is  whan  a  man  undertaketh  an  emprise  that 
hym  oghte  nat  do,  or  elles  that  he  may  nat  do,  and  this  is  called 


158  The  Cafe  is  Alterd  [Act  4 

surquidie' ;    Spenser,  Faerie  Queene  5.  2.  30    (cf .  2. 12.  31 ;    3, 1. 13 ; 
3- 10. 2)  : 

There  they  beheld  a  mighty  Gyant  stand 
Upon  a  rocke,  and  holding  forth  on  hie 
An  huge  great  paire  of  ballance  in  his  hand, 
With  which  he  boasted,  in  his  surquedrie. 
That  all  the  world  he  would  weigh  equallie. 

Jonson  used  the  word  again  in  Love  Restored  7. 200. 

4.  5. 28.  ad  vngem.  Exactly,  perfectly.  The  expression  is  bor- 
rowed from  sculptors,  who,  in  modeling,  give  the  finishing  touch 
with  the  nail;  or  from  joiners,  who  test  the  accuracy  of  joints  in 
wood  by  the  nail.  See  Horace,  Sat.  1.5.32:  'Ad  unguem  Factus 
homo';  Horace,  Ars  Poetica  294:  'Carmen  decies  castigare  ad 
unguem' ;  Virgil,  Georg.  2. 277 :  'Omnis  in  unguem  .  .  .  secto 
via  limite  quadret.'  In  Tale  of  a  Tub  (6. 135),  when  Miles  Meta- 
phor is  recommended  as  the  one  to  borrow  a  messenger's  coat,  Hugh 
replies :  'He  will  do  it  ad  unguem.'  Cf .  Magnetic  Lady  6.  72 ;  L.  L. 
Lost  5. 1.  81-3: 

'Cost.    Go  to ;    thou  hast  it  ad  dunghill,  at  the 

fingers'  ends,  as  they  say. 
Hoi.    O,  I  smell  false  Latin ;   dunghill  for  unguem.' 

vpsie  freeze.  'In  the  Dutch  fashion,  or  a  la  mode  de  Frise.' — 
Nares.  The  C.  D.  has  the  same  explanation,  giving  as  the  Dutch 
origin,  op  zijn  Friesch,  and  adding,  'Upsee  has  been  conjectured  to 
mean  "a  kind  of  heady  beer,"  qualified  by  the  name  of  the  place 
where  it  was  brewed.*  The  expression  clearly  implies  deep  drinking. 
See  Dekker,  Dead  Tearme  (Pr.  Wks.  4. 12)  :  'Fellowes  there  are 
that  follow  mee,  who  in  deepe  bowles  shall  drowne  the  Dutchman, 
and  make  him  lie  vnder  the  table.  At  his  owne  weapon  of  Vpsie 
freeze  will  they  dare  him' ;  Dekker,  Guls  Horne-booke  (Pr.  Wks. 
2. 206)  :  'Awake  thou  noblest  drunkerd  Bacchus,  .  .  .  teach  me 
(you  soueraigne  skinker)  how  to  take  the  Germanies  vpsy  freeze' ; 
Massinger,  Virgin-Martyr  {Wks.  1.26):  'Bacchus,  the  god  of 
brew'd  wine  and  sugar,  grand  patron  of  rob-pots,  upsy-freesy  tip- 
plers, and  supernaculum  takers';  Jack  Drum's  Entertainment  (Simp- 
son, Sch.  of  Shak.  2. 165)  :  'Drinke  Dutch,  like  gallants,  let's 
drinke  vpsey  freeze';  also  Lodge,  Rosalynde  {Wks.  1. 10)  ;  Dekker, 
Dead  Tearme  {Pr.  Wks.  2.19,  206;  3.270),  and  Seuen  Deadly 
Sinnes  {Pr.  Wks.  2.19);  Nashe,  Pierce  Penilesse  {Wks.  1.205); 
Scott,  Lady  of  the  Lake  6.  5.  94-5  ;  and  cf.  Hamlet  i.  4.  8-9.  The 
expression  Upsee-Dutch  occurs  in  The  Alchemist  (4. 142),  and  in 


Act  4]  Notes  159 

Beaumont  and  Fletcher,  Beggar's  Bush  {Wks.  9.44)-  In  the  latter, 
reference  is  made  to  Upsey-English  (p.  80). 

See  Nares  for  a  discussion  on  Upsee  Freeze,  and  Brand  (2.  330) 
for  additional  examples. 

4. 5.  38.  a  ditty  for  this  handkercher.  Later  in  the  scene  (1.  53) 
called  a  'posie.'  A  short  motto  or  verse  of  poetry,  either  engraved 
in  a  ring,  or  sent  to  a  lady  to  accompany  some  gift  or  token.  In 
An  English  Garner  (pp.  269,  281,  295,  ed.  BuUen)  are  to  be  found 
the  following  collections  of  'posies' :  Love  Posies  (Harl.  MS.  6910, 
dated  about  1596)  ;  Love's  Garland  (1624)  ;  Cupid's  Posies,  For 
Bracelets,  Handkerchers,  and  Rings;  With  Scarfs,  Gloves,  and  other 
things  (1674).  They  are  also  in  Arber's  English  Garner  (1.611; 
8.97,  351;    cf.  8.410). 

See  Lydgate,  Minor  Poems  (p.  65,  Percy  Soc.)  : 

And  for  youre  poyesye  these  lettres  v.  ye  take, 
Of  this  name  Maria,  only  for  hir  sake. 

The  'posy'  of  the  ring  given  by  Nerissa  to  Gratiano  {M.  of  Venice 
5. 1. 150)  was :  'Love  me,  and  leave  me  not.'  Asotus  in  Cynthia's 
Revels  (2. 302)  presents  a  ring  with  this  motto :  'Let  this  blush 
for  me.'  See  Hamlet  3. 2. 162 :  'Is  this  a  prologue,  or  the  posy  of 
a  ring.'  For  other  examples,  see  Every  Man  In  i.  51 ;  Cynthia's 
Revels  2.242;  Barth.  Fair  4.424;  New  Inn  5. 310;  Epigram  7J 
8. 183 ;  Shakespeare,  Lover's  Complaint  45 ;  Beaumont  and  Fletcher, 
Knight  of  the  Burning  Pestle  (Wks.  2.227);  Marlowe,  Jew  of 
Malta  (Wks.  2.52);  Middleton,  Family  of  Love  (Wks.  3. 113)  ; 
Shirley,  Lady  of  Pleasure  (Wks.  1. 1. 15). 

A  handkerchief  was  a  customary  token,  and  it  was  the  gift  of 
either  sex.  Stow  says  (Annals,  1631,  p.  1039)  :  'It  was  then  the 
Custome  for  maydes,  and  Gentlewomen,  to  giue  their  fauourites  as 
tokens  of  their  loue,  little  handkerchiefs  of  about  three  or  foure 
inches  square,  wrought  round  about,  and  with  a  button,  or  a  tassell 
at  each  corner.'  In  the  Vow  Breaker  (Sampson,  Act  i,  scene  i), 
Miles,  on  leaving  for  the  wars,  says  to  Ursula :  'I  leave  an  hand- 
kercher with  you,  't  is  wrought  with  blew  Coventry.'  See  Masque 
of  Owls  8.  58 : 

Their  maids  and  their  makes, 

At  dancings  and  wakes. 

Had  their  napkins  and  posies. 

In  the  Courtier  and  Country-man  (Breton,  p.  183),  the  country- 
man speaks  of  the  wholesome  relations  of  the  young  folks  in  the 
country,  where  'a  payre  of  Gloues  &  a  handkerchiffe  are  as  good 
as  the  best  obligation.'     The  fateful  handkerchief  in  Othello  is  a 


i6o  The  Cafe  is  Alterd  [Act  4 

familiar   instance    (3. 3. 290)  :    'Emil.      This   was   her   first   remem- 
brance from  the  Moor.'     Later  (3.4.  55),  Othello  remarks: 

That  handkerchief 

Did  an  Egyptian  to  my  mother  give. 

The  following  couplet  is  selected  from  Cupid's  Posies  (p.  296,  ed. 

BuUen)  as  being  characteristic : 

This  Handkercher  to  you  assures 
That  this  and  what  I  have  is  yours. 

'Posies'  were  inscribed  also  on  trenchers :  Dekker,  North-ward 
Hoe  {Wks.  3.38):  T'll  haue  you  make  12.  poesies  for  a  dozen 
cheese  trenchers.'  See  also  The  Devil  is  an  Ass  5. 4 ;  Dekker, 
Honest  Whore,  Pt.  i  {Wks.  2.72);  Middleton,  Old  Law  {Wks. 
2. 149),  and  No  Wit,  No  Help  {Wks.  4.322). 

4. 5. 41.  in  diebus  illis.  An  expression  used  by  the  following : 
Greene,  A  Quip  for  an  Upstart  Courtier  {Wks.  11.222,  230,  245, 
294);  Nashe,  Terrors  of  the  Night  {Wks.  1.367),  Vnfortunate 
Traveller  {Wks.  2.230),  Prayse  of  the  Red  Herring  {Wks.  3. 188)  ; 
Seruingmans  Comfort  (pp.  135,  146). 

Professor  Cook  reminds  me  of  its  extensive  use  in  the  Bible. 
Cruden  {Concordance)  records  26  examples.  See  Genesis  6.4: 
'There  were  giants  in  the  earth  in  those  days' ;  Luke  2.  i :  'And  it 
came  to  pass  in  those  days.' 

4.  5. 48.  danger  doth  breed  delay.  Onion  has  of  course  reversed 
the  proverb.  Cf.  Hazlitt  (1907,  p.  127).  See  Greene,  Anatomie  of 
Fortune  {Wks.  3.230):  'Let  vs  leaue  therefore  these  needlesse 
protestations,  .  .  .  delay  breedes  danger' ;  i  Hen.  VI  3. 2. 33 : 
'Defer  no  time,  delays  have  dangerous  ends';  Greene,  Carde  of 
Fancie  {Wks.  4.49),  James  IV  {Wks.  13.  311);  Preston,  New 
Covenant  435  (1634)  ;  Don  Quixote  2.41. 

4. 5.  50.  Meridian  slaue.  See  Glossary.  The  following  uses  of 
'meridian'  are  cited  by  the  N.  E.  D.:  'Meridian  devil:  translation 
of  the  Vulgate  dcemonium  meridianum  (Ps.  91.6),  for  which  the 
Eng.  Bible  has  "the  destruction  that  wasteth  at  noonday" ;  Skelton, 
Image  Ipoc.  2. 429 :  "Thou  art  a  wicked  sprite,  ...  A  beestely 
bogorian,  And  a  devill  meridian";  Bale,  Eng.  Votaries  2. 118:  "O 
deuyls  merydyane,  as  the  Prophet  doth  call  yow." ' 

4.5.52.  Cupids  burden:  tis  to  heauy,  to  tollerable.  The  same 
misuse  of  tolerable  for  intolerable  occurs  in  Much  Ado  3.3.37: 
'To  babble  and  to  talk  is  most  tolerable  and  not  to  be  endured'; 
and  in  Heywood,  Faire  Maide  of  the  Exchange  {Wks.  2.57): 
'  'T  is  most  tolerable,  and  not  to  be  endured,  flesh  and  bloud  cannot 
beare  it.' 


Act  4]  Notes  161 

4.6.1.     Scan  (Abbott  456,  465;  : 

Nay  I  pri  |  thee  Rachel,  |  I  come  |  to  com  |  fort  thee. 

/  may  be  regarded  as  redundant,  and  final  el  is  softened  before  a 
vowel. 

4.6.5-6.     Cf.  Every  Man  In  1.202  (original  edition)  : 

Methought  he  bare  himselfe  with  such  observance, 

So  true  election  and  so  faire  a  forme. 

4.6.9.  tume  turtle.  The  turtle-dove,  often  shortened  to  turtle, 
was  an  emblem  of  chaste  and  faithful  love.  See  Lyly,  Euphues  and 
his  England  (Wks.  2.54)  :  'The  Turtle  hauing  lost  hir  mate,  wan- 
dreth  alone,  ioying  in  nothing,  but  in  solitarinesse.'  Bond,  in  a  note 
to  the  above  passage,  refers  to  Bartholomaeus  Anglicus,  De  Prop. 
Reruni  12.  34,  where  the  same  sentiment  is  expressed.  Pliny  writes 
of  the  dove.  Hist.  Nat.  10.  52 :  'Pudicitia  illis  prima.  .  .  .  Con- 
iugii  fidem  non  violant.' 

See  also  Chaucer,  Parlement  of  Foules  355 :  'The  wedded  turtel, 
with  hire  herte  trewe' ;  W.  Tale  4. 4.  154 :  'So  turtles  pair.  That 
never  mean  to  part' ;  Troi.  and  Cres.  3. 2. 185 :  'As  true  as  steel, 
.  .  .  as  turtle  to  her  mate';  cf.  Phoenix  and  Turtle;  Lyly, 
Euphues  and  his  Ephoebus  {Wks.  i.  285).  In  a  note  to  the  reference 
just  cited  from  W.  Tale  (Variorum  ed.,  p.  302),  the  editor  refers 
to  Gesta  Romanorum,  where  a  young  widow  says  to  her  father-in- 
law:  'Donee  audiam  de  sponso  meo  dulcissimo,  ad  instar  turturis 
manebo  tecum.' 

4.  6. 13-4.     But  this  is,  when  nature  will  bestow 

Her  gifts  on  such  as  know  not  how  to  vse  them. 

Cf .  Every  Man  Out  2.  77 : 

Blind  Fortune  still 
Bestows  her  gifts  on  such  as  cannot  use  them. 

Poetaster  2.473: 

And  with  her  blind  hand 
She,  blind,  bestows  blind  gifts,  that  still  have  nurst, 
They  see  not  who,  nor  how,  but  still,  the  worst. 

Every  Man  In  1. 11-2: 

Have  you  not  yet  found  means  enow  to  waste 

That  which  your  friends  have  left  you,  but  you  must 

Go  cast  away  your  money  on  a  buzzard, 

And  know  not  how  to  keep  it,  when  you  have  done? 

Devil  is  an  Ass  5.120:    'That  shall  be  kept  for  your  wife's  good, 
Who  will  know  better  how  to  use  it.' 


i62  The  Cafe  is  Alterd  [Act  4 

These  lines  appear  in  Bodenham's  Belvedere  (p.  149),  somewhat 
altered : 

Fortune  her  gifts  in  vaine  to  such  doth  giue, 
Who  when  they  Hue,  seeme  as  they  did  not  Hue. 

Zeus  is  said  to  have  deprived  Plutus  of  his  sight,  that  he  might 
distribute  his  gifts  blindly,  and  without  any  regard  to  merit 
(Aristophanes,  Plut.  90;  Schol.  ad  Theocrit.  10.19).  Cf.  Cicero, 
Lael.  15.54:  'Non  enim  solum  ipsa  fortuna  caeca  est,  sed  eos  etiam 
plerumque  efficit  caecos  quos  complexa  est.' 

4. 6. 18.  see  the  painter,  etc.  Of  the  custom  of  painting  and 
of  using  washes  to  improve  the  complexion,  Strutt  (The  Man- 
ners and  Customs  of  the  English  3.  103,  London,  1776)  says : 
'These  curious  arts  the  moderns  must  not  arrogate  to  themselves 
the  invention  of,  for  assuredly  they  are  of  very  ancient  date; 
though  the  first  mention  that  I  remember  to  have  seen  of  painting 
being  used  in  England,  is  in  a  very  old  MS.  which  is  preserv'd 
in  the  Harleian  Library  (1605),  which  I  suppose  is  full  as  old  as 
the  14th  century.'  From  this  MS.  he  then  quotes  three  recipes, 
of  which  the  following  is  the  first:  'Moeng  (mix)  to  gyder  the 
milk  of  an  asse,  and  of  a  blak  kow  and  brimstone,  of  everych  y  lucke 
[yliche?]  moche  (of  each  a  like  quantity)  and  anoynte  thy  face, 
so  thu  shalt  be  fayr  and  hwyt  (white).' 

In  The  Devil  is  an  Ass  (5.68,  and  104-5),  the  ladies  are  informed 
at  a  great  length  of  all  the  fashionable  washes  and  cosmetics  then 
in  vogue  in  Spain.  Stubbes  (pp.  55-60)  considered  this  custom 
'most  ofifensiue  to  God,  and  derogatorie  to  his  maiestie.' 

4.7. —  Enter  Onion  and  luniper.  Jonson  regularly  makes  a 
new  scene  when  a  character  enters  who  alters  the  situation.  This 
is  the  case  even  when  characters  remain  on  the  stage  from  the 
preceding  scene.  The  following  are  a  few  examples  taken  at  random 
from  the  folio  of  1616:  Cynthia's  Revels,  Act  i,  scene  2;  Poetaster, 
Act  2,  scene  2;  Alchemist,  Act  i,  scene  2;   Epiccene  Act  i,  scene  2. 

4.7.5.  I  am  betwixt  [bewitched].  Jonson  makes  other  allu- 
sions to  witchcraft  in  this  play  (1.5.45;  2.7.147-8).  He  has 
treated  the  matter  more  fully  in  The  Devil  is  an  Ass;  The  Masque 
of  Queens;  and  The  Sad  Shepherd.  Characteristic  plays  on  the 
subject  by  contemporary  dramatists  are,  of  course:  Shakespeare's 
Macbeth;  Middleton's  The  Witch;  and  Ford,  Dekker,  and  Rowley's 
The  Witch  of  Edmonton. 

4.7.10-3.  Hay  my  loue?  O  my  loue,  .  .  .  O  delicate  trip  and 
goe.  Cf.  Nashe,  Wks.  3.332  (Preface,  Astrophel  and  Stella)  :  'My 
stile  is  somewhat  heauie  gated,  and  cannot  daunce  trip  and  goe  so 


Act  4]  Notes  163 

liuely,  with  oh  my  loue,  ah  my  loue,  all  my  loues  gone,  as  other 
Sheepheards  that  haue  beene  fooles  in  the  Morris  time  out  of 
minde.' 

The  expression  trip  and  go  was  frequently  used  by  Simon  Eyre 
in  the  Shoemaker's  Holiday  (Dekker,  Wks.  1.20,  23,  62,  72).  Cf. 
L.  L.  Lost  4.  2.  145 :  'Trip  and  go,  my  sweet ;  deliver  this  paper' ; 
Gosson  (p.  25):  'Trype  and  goe,  for  I  dare  not  tarry';  Tempest 
4.1.46;  Nashe,  Summer's  Last  Will  {Wks.  3.240):  Milton,  L'Al. 
2,i.  For  other  references,  and  for  the  words  and  music  of  a  song 
with  this  title,  see  Chappell  (i.  130-1). 

4-  7. 35.  radamant.  Juniper  may  have  had  in  mind  either  Rhada- 
manthus  or  B radamant.  Each  is  used  elsewhere  in  Jonson's  works, 
the  former  in  The  Poetaster  (2.413)  and  Epigram  133  (8.239),  and 
the  latter  in  The  Alchemist  (4.68).  'Radamant'  is  suggestive,  too, 
of  Rodomont,  the  Moorish  king  in  Orlando  Innamorato  and  Orlando 
Furioso. 

4.7.36.  Mathauell.  Niccolo  Machiavelli  (1469-1527),  the  cele- 
brated statesman  and  author  who  lived  in  Florence.  Meyer  in  his 
article,  'Machiavelli  and  the  Elizabethan  Drama'  {Litterarhistor- 
ische  Forschungen  1.89-90),  says  this  is  the  first  instance  of  a  woman 
being  called  a  Machiavel.  He  cites  four  other  instances.  In  1604 
Andrew  published  a  poem,  The  Vnmasking  of  a  feminine  Machiavell. 
Ward  (1.339)  has  a  note  on  Machiavelli's  appearances  in  Eliza- 
bethan literature. 

See  Merry  Wives  3.  i.  104:  'Am  I  politic?  am  I  subtle?  am  I  a 
Machiavel';  Greene,  ikfamt7/to  {Wks.  2.20s)  :  'So  Pharicles  .  .  . 
beeing  in  the  state  of  his  life  such  a  mutable  machauilian,  as  he 
neither  regarded  friend  nor  faith,  oath  nor  promise,  if  his  wauering 
wit  perswaded  him  to  the  contrarie.'  In  Nashe,  Saffron-Walden 
{Wks.  3.137),  Dr.  Perne  is  called:  'An  apostata,  an  hipycryte,  a 
Machauill,  a  cousner,  a  iugler.' 

Other  references  may  be  found  in  i  Hen.  VI  5.  4.  74 ;  3  Hen.  VI 
3.2.  193;  Magnetic  Lady  6.26;  Greene,  Cony-Catching,  Pt.  2  {Wks. 
10.  72))  \   Nashe,  Pierce  Penilesse  {Wks.  1. 176,  220). 

4.  7.  40-3.     luni.     You  smell  my  meaning. 

Oni.     Smell,  filthy,  fellow  luniper  filthy? 
smell?  O  most  odious.     Cf.  Every  Man  In  1.27: 

'Cob.    I  smell  his  ghost  ever  and  anon. 
Mat.     Smell  a  ghost!  O  unsavory  jest!' 

4.7.45.  smell  a  rat.  An  expression  found  in  Ray  (p.  143)  and 
Hazlitt  (1907,  p.  493).  It  is  quoted  in  Tale  of  a  Tub  6. 194;  Look 
About  You  (7.416,  Dodsley,  1874);    Butler,  Hudibras  1. 1.  821. 


164  The  Cafe  is  Alter d  [Act  4 

4.7.51-2.  sweet  hart?  .  .  .  And  bag  pudding.  'A  pudding 
made  evidently  of  flour  and  suet,  with  plums,  and  of  an  elongated 
shape,  as  it  had  two  ends.  It  probably  represented  our  rolly-poUy 
puddings,  and  seems  from  the  frequent  allusions  to  it  to  have  been 
a  very  popular  dish  at  the  tables  of  the  middle  and  lower  classes.' — 
Nares.  Grose  (p.  192)  calls  it  a  'Leicestershire  plower.'  In 
another  place  (p.  148),  he  says  that  'bag-pudding'  was  a  jocular 
appellation  given  by  the  Scotch  for  an  English  poke-pudding. 

'Sweet-heart  and  bag-pudding'  was  a  proverbial  expression  (Ray, 
p.  4S).  See  Day,  Humor  Out  of  Breath  2.1.25:  'Farewell  sweet 
heart — God  a  mercy,  bag  pudding.' 

For  other  references  to  bag-pudding,  see  Hazlitt,  Proverbs  (1907, 
P-  397)  ;  Three  Ladies  of  London  (6.  312,  Dodsley,  1874)  ;  Hey- 
wood,  Edward  IV  (Wks.  1.47);  Cartright,  Ordinary  (10.193, 
Dodsley,  1826). 

4. 7. 61.  conni-catching.  Cheating,  swindling.  A  'cony-catcher' 
was  a  rogue  or  cheat  who  preyed  upon  and  gulled  the  simple 
people  of  London.  The  term  was  made  famous  by  Greene's  Defence 
of  Conny-Catching,  published  in  1591.  It  is  a  metaphor  taken  from 
the  cunning  artifices  practised  in  robbing  cony-  or  rabbit-warrens. 

The  first  use  of  the  term  given  in  the  A'^.  E.  D.,  with  this  sense, 
is  from  Nobody  and  Somebody  (Simpson,  Sch.  of  Shak.  1.338): 
*If  I  had  not  overheard  this  treason  to  his  person,  these  cunni- 
catching  knaves  would  have  made  lesse  than  Nobody  of  him.'  In 
Every  Man  In  (1.67),  Stephen  calls  Brainworm  a  'coney-catching 
rascal'  for  selling  him  a  supposed  Toledo  rapier.  Slender  has  the 
same  epithet  for  Bardolph,  Nym,  and  Pistol  {Merry  Wives  1. 1. 128). 
In  Nashe,  Terrors  of  the  Night  {Wks.  1.362),  we  read  of  'Cony- 
catching  Riddles' ;  and  in  his  Vnfortunate  Traveller  { Wks.  2.  259) , 
reference  is  made  to  a  'fine  cunny-catching  corrupt  translation.' 
See  also  T.  of  Shrew  4.  i.  45  ;  5. 1. 102;  and  Seruingmans  Comfort 
(pp.  125,  147).  Hart  has  an  article  on  Greene's  'Cony-catching 
series'  in  Notes  and  Queries  (10.2.484). 

4.  7. 62.     Onion  gets  vp  into  a  tree.     Plautus,  Aul.  678-9 : 

lam  ego  illuc  praecurram  atque  inscendam 

aliquam  in  arborem 
Indeque  obseruabo  aurum  ubi  abstrudat  senex. 

Regarding  the  difference  in  motive  of  this  scene,  Gifford  says :  'In 
Plautus  the  discovery  of  the  treasure  is  the  prime  object;  in  Jon- 
son,  it  is  merely  incidental,  and  forms  no  necessary  part  of  the 
plot.  Rachel  might  have  obtained  a  husband  had  Jaques  been  as 
poor  as  every  one  thought  him ;    whereas  the  Lar  kindly  informs  us 


Act  4]  Notes  165 

in  the  prologue,  that  the  treasure  was  expressly  bestowed  on  Euclio, 
that  he  might  be  enabled  to  give  a  marriage  portion  with  his 
daughter  to  a  youth  of  quality.' 

4.  7.  66.  Pitiful  Onion,  that  thou  hadst  a  rope.  References  to 
a  rope  were  usually  made  with  a  quibble.  Onion's  use  of  the  word 
here  is  not  quite  clear.  It  may  be  the  customary  joke,  a  reference 
to  the  gallows.  See  Tempest  1.1.33:  'Stand  fast,  good  Fate,  to 
his  hanging:  make  the  rope  of  his  destiny  our  cable';  /  Hen.  VI 
I-  3-  53  '•    'I  cry,  a  rope !  a  rope  1' 

Again,  the  remark  may  be  a  quibble  on  his  own  name.  The 
N.  E.  D.  gives  as  one  meaning  of  rope :  'A  number  of  onions  strung 
or  plaited  together.'  Cf.  Heywood,  Proverbs,  p.  206:  'Wilt  thou 
hang  up  with  ropes  of  onions.'  Earlier  in  our  play  (4.  3.  14-6)  a 
humorous  reference  is  made  to  a  rope  of  this  character.  See  also 
Appius  and  Virginia  (4.  151,  Dodsley,  1874)  : 

Reward.     Then  for  thy  reward,  then,  here  is  a  rope. 
Haphazard.    Nay,  soft,  my  masters  :   by  Saint  Thomas  of  Trunions, 
I  am  not  disposed  to  buy  of  your  onions. 

Parrots  were  taught  to  cry  'rope.'  Onion's  remarks  were  intended 
to  cause  laughter,  and  the  expression  under  consideration  may  refer 
as  well  to  parrots  as  to  hanging  or  onions.  Cf.  Taylor,  p.  265, 
Epigram  31: 

Why  doth  the  Parrat  cry  a  Rope,  a  Rope? 
Because  hee's  cag'd  in  prison  out  of  hope. 

In  this  connection,  see  Butler,  Hudibras  1. 1.  549-52;  Magnetic  Lady 
6.  loi ;   Com.  of  Errors  4.  4. 44-6. 

4.7.68,70.  garlique.  In  Dekker,  Satiromastix  {Wks.  1.201), 
Tucca  says  to  Horace  (supposed  to  be  Jonson)  :  'Demetrius  shall 
write  thee  a  Scene  or  two  in  one  of  thy  strong  garlicke  Comedies ; 
and  thou  shalt  take  the  guilt  of  conscience  f or't,  and  sweare  't  is 
thine  owne  olde  lad,  't  is  thine  owne.' 

4-  7-  73-5-     deliuer,  etc.     Plautus,  Aul.  634 : 

Eve.    Redde  hue  sis.        Str.    Quid  tibi  uis  reddam? 
Eve.    Rogitas  ? 

4'  7-  75-7'  wouldst  thou  shew  me  thy  hands,  etc.  Plautus,  Aul. 
640-1 : 

Eve.    Ostende  hue  manus. 
Str.    Em    tibi,    ostendi :     eccas.        Eve.    Video.    Age 
ostende  etiam  tertiam. 


i66  The  Cafe  is  Alterd  [Act  4 

Also  649-50: 

Eve.    Age  rusum  ostende  hue  manum 
Dexteram.        Str.    Em.        Eve.    Nunc  laeuam  ostende. 

Str.     Quin  equidem  ambas  propero. 

Whalley  has  pointed  out  Jonson's  indebtedness  to  Plautus,  in  regard 
to  this  scene. 

4.  7. 75-87.  The  speeches  in  this  scene  are  a  mixture  of  prose  and 
verse,  intended  no  doubt  to  show  the  excitement  of  the  participants. 
Even  Juniper  and  Onion  resort  to  verse.  That  such  verses  occur 
more  than  once  would  seem  to  show  they  were  not  accidental. 

Several  speeches  by  Jaques  and  Juniper,  not  considered  as  verse 
by  Gifford,  may  possibly  be  regarded  as  such : 

Jaq.    O  thou  wouldst  have  me  tell  thee,  wouldst  thou? 

Shew  me  thy  hands,  what  hast  thou  in  thy  hands? 
Jun.     Here  be  my  hands. 
Jaq.     Stay,  are  n't  thy  fingers'  ends  begrimed  with  dirt? 

No,  thou  hast  wiped  them. 
Jun.    Wiped  them ! 
Jaq.    Ay,  thou  villain  ; 

Thou  art  a  subtle  knave.     Put  off  thy  shoes ; 

Come,  I  will  see  them ;   give  me  a  knife  here,  Rachel, 

I'll  rip  the  soles. 
Oni.     [above.]     No  matter,  he's  a  cobler,  he  can  mend  them. 
Jun.    What,  are  you  mad,  are  you  detestable? 

Would  you  make  an  anatomy  of  me? 

Think  you  I  am  not  true  orthography? 

4. 7. 85.    What  are  you  mad.    Plautus,  Aul.  642-3 : 

Laruae  hunc  atque  intemperiae  insaniaeque 

agitant  senem. 
Facin  iniuriam  mihi  an  non? 

4-  7-  95-7-    let  me  see  these  drums,  etc.    Plautus,  Aul.  646-7 : 
Eve.    Agedum,  excutedum  pallium. 
Str.    Tuo  arbitratu.        Eve.    Ne  inter  tunicas  habeas. 

bombard  slops.  'Bombard,'  as  a  noun,  referred  to  a  species  of 
cannon.  From  a  resemblance  to  the  latter,  its  meaning  was  made 
to  include  a  large  leather  jug  or  bottle  for  holding  liquor.  See 
Mereury  Vindieated  7.235;  Masque  of  Augurs  7-4HI  Tempest 
2.  2.  21 ;  I  Hen.  IV  2.  4.  497 ;  and  Hen.  VIH  5.  4.  85.  When  large 
loose  breeches  became  the  fashion,  they  received  the  name  of 
'bombards,'  from  their  resemblance  to  the  leather  bottles :  'Bombards 


Act  4]  Notes  167 

was  a  style  of  breeches  worn  in  the  seventeenth  century,  before  the 
introduction  of  tight-fitting  knee-breeches.  They  reached  to  the  knee, 
and  were  probably  so  named  because  they  hung  loose  and  resembled 
the  leathern  drinking-vessels  called  bombards.' — C.  D.  Neither  the 
A'^.  E.  D.  nor  the  C.  D.  gives  bombard  as  an  adjective.  The  noun 
was  used  in  combinations,  such  as,  bombard-like,  bombard-man, 
bombard-phrase,  bombard-style.  Jonson  used  three  of  these:  'bom- 
bard-man,' Masque,  Love  Restored  7.  203  ;  'bombard-phrase,'  Trans. 
Horace,  Art  of  Poetry  9.  87 ;  'bombard-style,'  Epigram  133  8.  234, 
467.     Among  these  may  be  classed  the   'bombard  slops'   of  our  text. 

The  usual  term,  however,  for  this  loose  style  of  breeches,  was 
'slops.'  Originally  large,  their  size  was  further  emphasized  by 
stuffing  them  with  hair,  cotton,  rags,  etc. :  Strutt  (3.  84)  :  'These 
slops  or  breeches,  or  trunk  hose,  they  used  to  stuff  out  with  rags, 
or  such-like  stuff,  till  they  brought  them  to  an  enormous  size.' 
Bulwer  tells  of  a  gallant  who  stuffed  his  with  bran  {Man  Trans- 
formed, pp.  S41-2,  London,  1653).  Peck  relates  the  same  incident 
in  his  Desiderata  Curiosa  (2.575,  London,  1779).  Peck  (2.576), 
quoting  from  Bulwer  (p.  542),  speaks  of  a  man  who  was  brought 
before  a  judge  for  violating  the  law  against  stuffed  breeches.  In 
these  were  found  a  pair  of  sheets,  two  table  cloths,  ten  napkins, 
four  shirts,  a  brush,  glass,  and  comb,  with  night  caps,  and  various 
other  articles.  The  same  account  is  given  by  Strutt  (3.  84) ,  and  by 
Weber  in  his  edition  of  Beaumont  and  Fletcher  {Wks.  5.458). 
See  Wright,  Passions  of  the  Minde  (p.  332,  London,  1604,  1630)  : 
'Sometimes  I  have  scene  Tarleton  play  the  Clowne,  and  use  no  other 
breeches,  than  such  slops  or  slivings,  as  now  many  Gentlemen  weare, 
they  are  almost  capable  of  a  bushell  of  wheate,  and  if  they  be  of 
sacke-cloth,  they  would  serve  to  carry  Mawlt  to  the  Mill.  This 
absurd,  clownish  and  unseemely  attyre,  only  by  custome  now,  is  not 
misliked,  but  rather  approoved';  Every  Man  In  1.45-6:  'I'll  go 
near  to  fill  that  huge  tumbrel-slop  of  yours  with  somewhat,  an  I 
have  good  luck :  your  Garagantua  breech  cannot  carry  it  away  so.' 
In  Greene,  Looking-Glasse  for  London  {Wks.  14.  105-6),  Adam,  a 
servant,  enters  'with  a  bottle  of  beere  in  one  slop,  and  a  great  peece 
of  beefe  in  an  other.'  The  N.  E.  D.  says :  'In  the  Geneva,  Bishops', 
and  Douay  Bible,  sloppes  is  employed  in  rendering  Isa.  3. 20.'  Don 
Pedro  {Much  Ado  3. 2. 34-7)  speaks  of  Benedick  as  appearing  'in 
the  shape  of  two  countries  at  once,  as  a  German  from  the  waist 
downward,  all  slops,  and  a  Spaniard  from  the  hip  upward,  no 
doublet.' 

Various  qualifying  words  were  used — 'Dutch':  Middleton,  Roar- 
ing Girl  {Wks.  4-53);   'French':   Rom.  and  Jul.  2.4.47;   'Spanish': 


1 68  The  Cafe  is  Alterd  [Act  4 

Alchemist  4.146;  Dekker,  Guls  Horne-booke  (Pr.  Wks.  2.210); 
'green':  Beaumont  and  Fletcher,  Pro/'/t^f^.j.y  {Wks.9).2Zi)  ;  'great': 
Alchemist  4.96;  Marston,  Antonio  and  Mellida,  Pt.  i  {Wks.  1.83)  ; 
Middleton,  No  Wit,  No  Help  {Wks.  4.308);  'side':  Greene, 
Mamillia  {Wks.  2.19);  Peele,  Old  Wives  Tale  i.  1.36;  'round': 
Marlowe,  i^aM.y(M.y  {Wks.  i.  22,0)  ;  Greene,  Reports  of  the  Shepheards 
{Wks.  6.57);  'dangling':  Beaumont  and  Fletcher,  Scornful  Lady 
{Wks.s-U). 

Additional  examples  may  be  found  in  Sidney,  Arcadia  (p.  85, 
ed.  Friswell,  London,  1867)  ;  L.  L.  Lost  4.  3.  59;  2  Hen.  IV  i.  2.  35 ; 
Beaumont  and  Fletcher,  Mad  Lover  {Wks.  6. 134)  ;  Middleton, 
Blurt,  Master-Constable  {Wks.  1.26,  80);  Every  Man  In  1. 102-3. 
Consult  Fairholt,  Costume  (1.237,  263;  2.371),  for  a  description, 
with  numerous  prints,  of  this  garment. 

4.  7. 99-101.  this  rug,  this  hedghogs  nest,  etc.  See  Dekker,  Guls 
Horne-booke  {Pr.  Wks.  2. 229)  :  'Long  haire  will  make  thee  looke 
dreadfully  to  thine  enemies,  and  manly  to  thy  friends';  T.  Night 
1. 3.  99-101 : 

Sir  And.    O,  had  I  but  followed  the  arts ! 

Sir  Tob.    Then  hadst  thou  had  an  excellent  head  of  hair. 

4.  7. 104-6.     Cf.  Every  Man  In  i.  46 : 

Yet  my  troubled  spirit's  somewhat  eased. 
Though  not  reposed  in  that  security 
As  I  could  wish. 

4. 7. 105.  His  was  used  as  the  genitive  of  it  as  well  as  of  he. 
In  this  instance  the  use  of  his  may  be  due  to  the  personification  of 
fear.  Cf.  our  text,  4. 1. 13.  See  Grammar  9.297;  Abbott  228,  229; 
Franz  203-14. 

4. 7. 117.  Preposition  omitted  after  scape.  This  was  frequently 
the  case  after  verbs  of  motion   (Abbott  198;    Franz  630). 

4.  7. 129.    drinke  it  greedily  with  both  mine  eares.    The  same 
figure  is  used  by  Shakespeare,  Rom.  and  Jul.  2.  2.  58 :   'My  ears  have 
not  yet  drunk  a  hundred  words.'     The  figure  is  an  old  one,  as 
Theobald  points  out  (p.  220).     See  Ovid,  Tr.  3.4.39-40: 
Nostra  tuas  vidi  lacrymas  super  ora  cadentes, 
Tempore  quas  uno,  fidaque  verba,  bibi. 

Also  Horace,  Od.  2. 13.  30 ;   Propertius  3. 6. 8. 

4. 7. 141.  My  feete  part  from  you,  but  my  soule  dwels  with 
you.    Plautus,  Aul.  181 : 

Nunc  domum  properare  propero :  nam  egomet  sum  hie, 
animus  domist. 


Act  4]  Notes  169 

4.  7. 142-3.  fortune  my  foe.  The  title  of  a  popular  ballad  sung 
to  the  tune  of  Fortune.  There  were  many  variations  of  the  ballad, 
and  numerous  parodies.  Chappell  (i.  162)  published  the  words  of 
one  version,  and  the  music.  There  are  twenty-two  stanzas,  of  which 
the  following  is  the  first : 

Fortune  my  foe,  why  dost  thou  frown  on  me? 
And  will  thy  favours  never  greater  be? 
Wilt  thou,  I  say,  for  ever  breed  me  pain, 
And  wilt  thou  not  restore  my  joys  again? 

In  Brome,  Antipodes  {Wks.  3.283),  the  song  is  whistled.  The 
expression  Fortune  my  foe  was  freely  used  by  writers :  Gipsies 
Metamorphosed  7.  385 :  T  swear  I'll  never  marry  for  that,  an't  be 
but  to  give  fortune,  my  foe,  the  lie' ;  Hen.  V  3.  6.  41 :  'Fortune  is 
Bardolph's  foe,  and  frowns  on  him';  Harvey,  Foure  Letters  {Wks. 
I.  178)  :  'Who  euer  hearde  me  complaine  of  ill-lucke,  or  once  say, 
Fortune  my  foe';  Nabbes,  Unfortunate  Mother  (O.  E.  Plays  2. 
154)  :    'Fortune  hath  bin  my  Matchiaveile.' 

For  other  examples,  see  Chaucer,  Troilus  i.  837 ;  Merry  Wives 
3.3.69;  Lyly,  Maydes  Metamorphosis  {Wks.  3.358);  Beaumont 
and  Fletcher,  Knight  of  the  Burning  Pestle  {Wks.  2.225),  and 
Custom  of  the  Country  {Wks.  4.394);  Greene,  Pinner  of  Wake- 
field {Wks.  2.  170,  ed.  Dyce)  ;  Returne  from  Parnassus  (p.  29)  ; 
Chappell  (i.  162-4);    Brewer,  Lingua  (5.166,  Dodsley,  1825). 

Horace  remarks  on  the  hostility  of  Fortune  {Sat.  2.  8.  61 ;  cf.  2.  2. 
126)  :    'Heu,  Fortuna,  quis  est  crudelior  in  nos  Te  deus.' 

4.  7. 148.  panurgo.  Probably  a  reference  to  Panurge,  a  humor- 
ous character  in  Rabelais'  History  of  Gargantua  and  Pantagruel. 
Cf.  Every  Man  In  1.46:  'Your  Garagantua  breech  cannot  carry  it 
away  so.'     Pantagruel  is  mentioned  in  The  New  Inn  5.  325. 

4. 7. 161.     Of  for  on  (Abbott  175;    Franz  520). 

4. 7. 163.  To  was  omitted  before  the  indirect  object  of  say 
(Abbott  201,  220). 

mad  Greeke.  'A  merry  fellow,  a  roysterer,  a  boon  companion, 
a  person  of  loose  habits.' — A''.  E.  D.  'The  Greeks  were  proverbially 
spoken  of  by  the  Romans,  as  fond  of  good  living  and  free  pota- 
tions ;  and  they  used  the  term  graecari,  for  to  indulge  in  these 
articles.' — Nares.  The  word  pergraecor  is  defined :  'To  live  like  the 
Greeks  (revel,  carouse).'  See  Plautus,  Mostellaria  1. 1.21:  'Dies 
noctesque  bibite  pergraecamini' ;  and  Julius  Paulus,  Ex  Fest.  (p. 
215,  ed.  Miill.)  :  'Pergraecari  est  epulis  et  potationibus  inservire.' 
Cf .  Juvenal,  Sat.  3.  78 :  'Graeculus  esuriens' ;  and  see  Mayor's  edi- 
tion of  the  Satires  (i.  191)  for  references  on  this  passage.    Cf.  also 


17©  The  Cafe  is  Alterd  [Act  4 

Volpone  3. 254 :    'Let's  die  like  Romans,  Since  we  have  lived  like 
Grecians.' 

Reference  to  the  Greeks,  such  as  the  one  in  our  text,  are  of 
course  not  to  be  construed  literally.  Some  qualifying  word  was 
generally  used,  such  as  merry,  mad,  foolish — 'merry' :  Troi.  and 
Cres.  4.  4.  58 :  'A  wof ul  Cressid  'mongst  the  merry  Greeks' ;  cf .  ib. 
1.2.  119;  Beaumont  and  Fletcher,  Woman's  Prise  {Wks.  7.132): 
'Go  home,  and  tell  the  Merry  Greeks  that  sent  you' ;  New  Inn  5. 
337;  Tale  of  a  Tub  6.190;  Dekker,  Guls  Horne-booke  (Pr.  Wks. 
1.2.227)  ;  and  cf.  Matthew  Merrygreek,  the  parasite  in  Ralph  Roister 
Doister;  'mad':  Dekker,  Shoemaker's  Holiday  (Wks.  1.23): 
'Drinke  you  mad  Greekes,  and  worke  like  Trojans';  Pan's  Anniver- 
sary 8.  43 ;  Dekker,  lests  (Pr.  Wks.  2.  349)  ;  Return  from  Parnassus 
(P-  33)-  See  Jonson's  'Character'  of  Coryat  (Crudities  1.  17, 
Glasgow,  1905)  :  'Hee  is  a  mad  Greeke,  no  lesse  than  a  merry.' 
'Foolish'  occurs:    T.  Night  4.  i.  19:   'Foolish  Greek,  depart  from  me.' 

4. 7. 167.  gold  is  but  mucke.  The  proverb  in  Hazlitt  runs : 
'Muck  and  money  go  together'  (p.  286)  ;  and  'Riches  are  like  muck, 
which  stink  in  a  heap,  but  spread  abroad,  make  the  earth  fruitful' 
(P-  325).  See  Bacon,  Essays  ('Seditions  and  Troubles')  :  'Money 
is  like  muck,  not  good  except  it  be  spread.' 

The  first  example  given  by  the  A^.  E.  D.  of  'muck'  used  to  mean 
money  is:  a  1300,  Sarmun  xx.  in  E.  E.  P.  (1862)  3:  'The  wrecchis 
wringit  the  mok  so  fast  up  ham  silf  hi  nul  noght  spened.'  See 
Occleve,  De  Reg.  Princ.  1632 :  'But  they  that  marien  hem  for  muck 
&  good  Only,  &  noght  for  loue.'  Spenser  used  the  word  with  the 
same  sense  (Faerie  Queene  2.7.10;  3. 10. 31).  See  also  Dekker, 
Deuils  Answer  (Pr.  Wks.  2. 136)  ;  Massinger,  City  Madam  (Wks. 
4.71);  and  cf.  Coriolanus  2.2.129-30;  Cymbeline  3.6.54;  Jack 
Drum's  Entertainment  (Simpson,  Sch.  of  Shak.  2.138). 

Professor  Cook  referred  me  to  the  'Man  with  the  muck-rake'  in 
Bunyan's  Pilgrim's  Progress  (Pt.  2).  Chaucer  used  'mokeren'  (to 
heap  up)  and  'mokerers'  (heapers  up,  hoarders)  with  reference  to 
riches  (Boece  425). 

4. 7. 168.  an  eye  to  the  maine  chance.  The  7nain  chance  was 
'a  term  in  the  game  of  Hazard.  In  quotations,  only  fig.  and  allusive. 
.  .  .  Phrases,  To  look,  have  an  eye,  etc.,  to  the  main  chance:  To 
use  one's  best  endeavors,  be  solicitous  (about  some  object).' — 
A'^.  E.  D.  In  the  C.  D.,  the  game  is  briefly  explained  thus :  'The 
players  are  a  caster  and  any  number  of  setters.  .  .  .  The  caster 
first  calls  a  main — that  is,  he  calls  any  of  the  numbers  5,  6,  7,  8,  or 
9.  He  then  throws  his  chance.  If  this  is  2,  3,  11,  or  12,  it  is  called 
crabs  and  he  loses,  unless  the  main  were  7  and  he  throws  11,  or  the 


Act  4]  Notes  171 

main  were  6  or  8  and  he  throws  12.  In  these  cases,  and  also  if  he 
throws  the  main,  his  throw  is  called  nick,  and  he  wins.  If  he  throws 
neither  crabs  nor  nick,  he  must  continue  to  throw  until  he  again 
throws  the  main  or  his  chance;  if  he  throws  the  former  first,  the 
setter  wins,  if  the  latter  the  caster  wins.'  For  a  more  complete 
explanation,  see  Encycl.  Brit.,  nth  ed.  {s.  v.  Hazard),  or  Seymour, 
Compleat  Gamester  (pp.  252-5,  London,  1739). 

The  following  are  some  examples  of  the  use  of  the  expression : 
Wilson,  Three  Ladies  of  London  (6. 343,  Dodsley,  1874)  :  'Trust 
me,  thou  art  as  crafty,  to  have  an  eye  to  the  main-chance  as  the 
tailor,  that  out  of  seven  yards  stole  one  and  a  half  of  durance'; 
2  Hen.  VI  1. 1. 208-12: 

Sal.    Then  let's  make  haste  away,  and  look  unto  the  main. 
War.    Unto  the  main !  O  father,  Maine  is  lost,     .     .    . 
Main  chance,  father,  you  meant. 

Also  I  Hen.  IV  4. 1.47;  2  Hen.  IV  3. 1.83;  Nashe,  Foure  Letters 
(IVks.  1.330)  ;  Greene,  Disputation  (IVks.  10.269)  ;  Lyly,  Euphues 
(Wks.  1.245)  ;    Hazlitt,  Proverbs  (1869,  p.  269). 

4.  7. 181-2.  most  sumptuously  attired.  Though  the  extravagance 
in  men's  dress  at  this  time  was  not  quite  so  marked  as  during  the 
reign  of  Henry  VIII,  it  was  sufficient  to  evoke  criticism.  See  Har- 
rison (i.  168)  :  'And  as  these  fashions  are  diuerse,  so  likewise  it 
is  a  world  to  see  the  costlinesse  and  the  curiositie:  the  excesse 
and  the  vanitie :  the  pompe  and  the  brauerie :  the  change  and  the 
varietie:  and  finallie  the  ficklenesse  and  the  follie,  that  is  in  all 
degrees :  in  somuch  that  nothing  is  more  constant  in  England  than 
inconstancie  of  attire';  Seruingmans  Comfort  (p.  154)  :  'Trust  me, 
I  holde  this  excessiue  costly  Apparell  a  great  cause  why  Gentlemen 
cannot  maynteyne  their  wonted  and  accustomed  bountie  and  lib- 
eralitie  in  Hospitalitie  &  house-keeping :  for  when  as  the  Mercers 
booke  shall  come.  Item  for  so  many  yardes  of  Cloth  of  Golde,  of 
Siluer,  Veluets,  Sattin,  Taffata,  or  such  lyke  ware :  the  Goldsmithes 
Debet  for  Chaynes,  Ringes,  Jewels,  Pearles,  and  precious  Stones : 
the  Taylors  Bill,  so  much  for  such  a  Sute  of  laced  Satten,  and  such 
lyke  superfluous  Charges,  amounting  in  one  yeere  to  more  then  the 
reuenues  of  his  Landes';  Dekker,  Seuen  Deadly  Sinnes  (Pr.  Wks. 
2. 59)  :  'An  English-mans  suite  is  like  a  traitors  bodie  that  hath 
beene  hanged,  drawne,  and  quartered,  and  is  set  vp  in  seuerall 
places :  his  Codpeece  is  in  Denmarke,  the  coUer  of  his  Dublet  and 
the  belly  in  France:  the  wing  and  narrow  sleeue  in  Italy:  the  short 
waste  hangs  ouer  a  Dutch  Botchers  stall  in  Vtrich:  his  huge  sloppes 
speakes  Spanish:   Polonia  giues  him  the  Bootes.' 


172  The  Cafe  is  Alterd  [Act  4 

In  Every  Man  Out,  in  the  character  of  Fastidious  Brisk,  Jonson 
satirized  the  tendency  of  following  the  fashions  in  dress.  See  also 
Discoveries  9.  181.  References  to  Jonson's  works,  dealing  with  this 
subject,  will  be  found  in  the  Introduction  (p.  xxv,  note  91)  ;  of. 
T.  of  Shrew  4- 3- 55-8;  5.1.68-70;  M.  of.  Venice  1.2.7^;  Hamlet 
1.3.70-4;  Middleton,  Father  Hubbard's  Tales  (IV ks.  8.68-71); 
Traill  (3.159,  274,  387);  Stubbes  (1.26-87).  In  the  last  (p.  239), 
many  other  examples  may  be  found. 

Statutes  were  enacted  to  check  the  extravagance  in  apparel,  and 
to  regulate  what  the  different  classes  should  wear  (Traill  3. 161, 
388).  Cf.  Gosson  (p.  39).  For  historical  treatises,  see  Fairholt 
(Costume)  ;  Hill,  History  of  English  Dress  (N.  Y.,  1893)  ;  Ash- 
down,  British  Costume  During  XIX  Centuries  (London  and  Edin- 
burgh, 1910). 

4. 7. 190.  gudgeon.  The  word  occurs  again  in  the  Alchemist 
(4. 76)  with  the  sense  of  a  credulous  or  gullible  person,  used 
figuratively,  one  of  the  original  meanings  being  a  small  fresh-water 
fish.     Cf.  M.  of  Venice  1. 1. 102. 

4. 8. 2.  Neuer  was  man  so  palpably  abusd.  Plautus,  Capt. 
656-7 : 

Ita  mi  stolido  sursum  uorsum  os  subleuere  offuciis. 
Hicquidem  me  numquam  irridebit. 

4. 8. 14-5.     The   true   Chamount   set   free,  etc.     Plautus,   Capt. 

654-5 : 

Illic  seruom  se  assimulabat,  hie  sese  autem  liberum. 
Nuculeum  amisi,  reliqui  pigneri  putamina. 

4. 8.  24-6.     This   speech  was  arranged  by  Whalley  and  Giflford : 
Count  F.    Monsieur  Gasper  1 

On  what  occasion  did  they  change  their  names, 
What  was  their  policy  or  their  pretext? 

4. 8.  29-31.  Cf .  Every  Man  Out  2.  183 :  'If  the  Adalantado  of 
Spain  were  here  he  should  not  enter.' 

Amurath.  There  have  been  five  sultans  of  this  name:  Amurath 
I  (reigned  1359-1389) ;  H  (1421-1451)  ;  HI  (i574-i595) ;  IV 
(1623-1640)  ;   V  (May  to  Aug.,  1876). 

The  appearance  of  Marlowe's  Tamburlaine  (1587)  seems  to  have 
made  the  Turks  popular  subjects  for  the  drama.  The  following 
may  be  given  as  typical:  Marlowe,  Jew  of  Malta  (1590)  ;  Soliman 
and  Perseda  (1592)  ;  Peele,  Battle  of  Alcazar  (1594)  and  Turkish 
Mohamet  (never  published)  ;  Tragical  Reign  of  Selimus  (1594)  ; 
Greene,  Alphonsus  of  Arragon  (1599)  ;  Life  and  Death  of  Captaine 
Thomas  Stukeley  (1605)  ;    and  Mason,  The  Turke  (1610). 


Act  4]  Notes  Viz 

In  the  Battle  of  Alcazar,  the  name  'Amurath*  appears  about  30 
times.  In  Alphonsus  of  Arragon,  it  is  'Amurack,  the  Great  Turk.' 
See  also  2  Hen.  IV  5.  2.  48 :  'Not  Amurath  an  Amurath  succeeds, 
but  Harry,  Harry.' 

For  an  account  of  the  Turks  in  English  literature,  see  Conant, 
The  Oriental  Tale  in  England  in  the  Eighteenth  Century  (N.  Y., 
1908). 

4.  8. 39.  My  sences  loath  the  Sauiour  of  thy  breath.  Cf .  Every 
Man  Out  2. 136 :   T  can  but  faintly  endure  the  savour  of  his  breath.' 

4.8.40.     The  second  syllable  of  poyson  is  softened  (Abbott  470). 

4.8.43.  Fetch  forth  that  Gasper.  In  a  note  to  this  passage, 
Whalley  refers  to  the  Captivi  of  Plautus  as  the  source  of  this  plot 
in  our  play. 

4. 8.  55.  The  verbal,  used  as  a  noun,  was  often  followed  by  of 
when  the  did  not  precede  (Abbott  178,  373;    Franz  667). 

4. 8.  59.  We  vow'd  one  mutuall  fortune,  good  or  bad.  Cf .  Mar- 
lowe, I  Tamhurlaine  (Wks.  1.44)  :  'Vowing  our  loves  to  equal  death 
or  life.' 

4.8.60.     Of  used  for  by  (Abbott  170;    Franz  519). 

4. 8. 86-8.  thou  ill-bred  slaue, 

That  sets  no  difference  twixt  a  noble  spirit, 
And  thy  owne  slauish  humour. 

Cf.  Every  Man  In  1. 149,  note  (original  edition)  : 

But  that  this  barren  and  infected  age 

Should  set  no  difference  'twixt  these  empty  spirits 

And  a  true  poet. 

Poetaster  2.387: 

When,  would  men  learn  but  to  distinguish  spirits, 
And  set  true  difference  'twixt  those  jaded  wits    .    .    . 
And  the  high  rapture  of  a  happy  muse. 

4.  8. 89-91.  But  ile  take  worthy  vengeance  on  thee,  etc.  Plau- 
tus, Capt.  681-2 : 

He.    At  cum  cruciatu  maxumo  id  factumst  tuo. 
Tyn.    Dum  ne  ob  malefacta  peream,  parui  existumo. 

Alas,  these  threats  are  idle,  like  the  wind,  etc.  Cf.  /.  Ccesar 
4- 3- 66-9: 

There  is  no  terror,  Cassius,  in  your  threats, 
For  I  am  arm'd  so  strong  in  honesty 
That  they  pass  by  me  as  the  idle  wind, 
Which  I  respect  not. 


1X4  The  Cafe  is  Alterd  [Act  5 

4. 8.  92-3.    thou  shalt  want  no  torture,    .    .    .    bring  him  away. 

Plautus,  Capt.  721-z : 

Ducite, 
Vbi  ponderosas  crassas  capiat  compedes : 
Inde  ibis  porro  in  latomias  lapidarias. 

4.  8. 94.  Welcome  the  worst,  I  suffer  for  a  friend.  Plautus, 
Capt.  687-8 : 

Meumque  potius  me  caput  periculo 
Praeoptauisse  quam  is  periret  ponere. 

4.8.95.    Your  tortures  will  .   .   •  end.    Plautus,  Capt.  742-3: 
Et  si  peruiuo  usque  ad  summam  aetatem,  tamen 
Breue  spatiumst  perferundi  quae  minitas  mihi. 

4.  8. 1 13-4.  this  Steele  shall  engraue  it  on  his  burgonet.  Cf. 
Greene,  Selimus  {Wks.  14.285)  : 

But  we  shall  soone,  with  our  fine  tempered  swords, 
Engraue  our  prowesse  on  their  burganets. 

And  2  Hen.  VI  5.1.200:    'And  that  I'll  write  upon  thy  burgonet.' 

ACT  V 

5.1.6-7.    Renounce  this  boy-gods  nice  idolatry, 

Stand  not  on  complement,  and  wooing  trickes. 

Cf.  Every  Man  In  i.  90  (original  edition)  : 

Cosen,  lay  by  such  superficiall  formes,    .    .    . 
Stand  not  so  much  on  your  gentility. 

5. 1. 10.  Here  and  in  nearly  all  the  instances  that  follow,  laques 
is  to  be  read  as  a  disyllable  (Abbott  489). 

5. 1. 12-4.  Whalley  and  Gifford  formed  two  verses  of  these  lines, 
the  first  being: 

Shalt  be  his  son-in-law. 
Chris.    He  has. 
Ang.    He  has ! 

The  changes  of  this  character,  which  Whalley  and  Gifford  found  it 
necessary  to  make  in  the  text  of  the  remaining  scenes,  are  so 
numerous  that  it  would  require  too  much  space  to  record  them.  No 
attempt,  therefore,  will  be  made  to  do  so. 

5. 1. 17.  Why  he  is  more  inconstant  then  the  sea.  Cf.  The 
Forest  8.264:  '[Love  is]  Inconstant,  like  the  sea,  of  whence  'tis 
born.* 


Act  5]  Notes  175 

5. 1. 18.  His  thoughts,  Cameleon-like,  change  euery  minute. 
The  change  in  color,  characteristic  of  the  chameleon,  is  mentioned 
by  Pliny,  Hist.  Nat.  8. 51 :  'Et  coloris  natura  mirabilior :  mutat 
namque  eum  subinde,  et  oculis,  et  cauda,  et  toto  corpore,  redditque 
semper  quemcunque  proxima  attingit,  praeter  rubrum  candidumque.' 
Cf.  Aelian,  De  Nat.  Anim.  2.  14.  Aristotle  (De  Part.  Anim.  4.  11) 
attributes  the  change  in  hue  to  fear. 

See  T.  G.  of  Verona  2. 4.  23-6 : 

Sil.    What,  angry,  Sir  Thurio !  do  you  change  colour  ? 
Vol.    Give  him  leave,  madam ;  he  is  a  kind  of  chameleon. 

Greene,  Mamillia,  Pt.  i  {Wks.  2.  120)  :  '[Love  is]  more  variable 
in  thought  then  ye  Camelion  in  hue';  Nashe,  Pierce  Penilesse 
{Wks.  I.  224)  :  'He  grew  in  league  with  an  old  Camelion,  that  could 
put  on  all  shapes,  and  imitate  any  colour,  as  occasion  serued.' 

'From  their  inanimate  appearance,  and  power  of  existing  for 
long  periods  without  food,  they  were  formerly  supposed  to  live  on 
air.' — ^A^.  E.  D.  For  references  to  this  belief,  see  Pliny,  Hist.  Nat. 
8.  51 ;  Ovid,  Metant.  15.  411 ;  Hamlet  3.  2.  97 ;  Lyly,  Endimion  {Wks. 
3.50);  Greene,  Groats-worth  of  Wit  {Wks.  12.133).  Bond  (see 
Lyly  above)  refers  to  Bartholomaeus  Anglicus,  De  Prop.  Rerum 
18.21.     See  also  Purchas,  Hakl.  Posth.  4. 12  (Glasgow,  1905). 

Additional  references  to  the  chameleon :  Volpone  3. 279 ;  Staple 
of  News  5.221;  T.  G.  of  Verona  2.1.  178;  s  Hen.  VI  3. 2. 191 ; 
Drummond,  Poems  2. 248  (ed.  Ward,  N.  Y.  and  London,  1894)  ; 
Dekker,  Wonderfull  Yeare  {Pr.  Wks.  1. 117),  Seuen  Deadly  Sinnes 
{Pr.  Wks.  2.21);  Chapman,  Monsieur  D'Olive  {Wks.  1.223); 
Lodge,  Reply  to  Stephen  Gosson  {Wks.  1.25)  ;  Poole,  Eng.  Parnas- 
sus (p.  273,  London,  1657)  ;  Nashe  {Wks.,  ed.  McKerrow,  index)  ; 
Greene  {Wks.,  ed.  Grosart,  index)  ;  Phipson,  Animal-Lore  (1883, 
pp.  310-2).     Many  others  may  be  found  in  the  N.  E.  D. 

5. 1.  24.  bid  thy  hands  shed  golden  drops.  This  expression  is 
reminiscent  of  the  incident  referred  to  in  The  Alchemist  4.112: 

Heighten  thy  self,  talk  to  her  all  in  gold; 
Rain  her  as  many  showers  as  Jove  did  drops 
Unto  his  Danae. 

5. 1. 25.     Let  these  bald  french  crownes  be  vncouered.     The 

quibble  here  is  obvious.  The  expression  was  frequently  used  with 
a  pun  for  'top  of  the  head,'  and  with  reference  to  the  baldness 
produced  by  the  'French  disease' :  Beaumont  and  Fletcher,  Mon- 
sieur Thomas  {Wks.  7.320)  :  'Leave  me  your  rotten  language,  and 
tell  me  plainly,  and  quickly  sirrah,  lest  I  crack  your  French  crown' ; 


176  The  Cafe  is  Alterd  [Act  5 

M.  N.  Dream  1.2.99:    'Some  of  your  French  crowns  have  no  hair 
at  all.'    Cf.  Cynthia's  Revels  2.232: 

'Aso.    'T  is  a  beaver,  it  cost  me  eight  crowns  but  this  morning. 

Amo.    After  your  French  account?' 

See  also  Meas.  for  Meas.  1.2.52;  All's  IV ell  2.2.24;  Dekker, 
Deuils  Answer  (Pr.  Wks.  2. 138). 

For  references  to  the  coin,  French  crown,  see  Harrison  (1.364)  ; 
Every  Man  Out  2.  52 ;   2  Hen.  IV  3.  2.  237 ;   Hen.  V  4.  i.  245. 

5.1.26.    Read  obeysance  as  a  quadrisyllable  (Abbott  479). 

5. 1. 34.  Both  Whalley  and  Gifford  inserted  But  at  the  beginning 
of  this  line,  making  the  verse  end  with  out.  However,  if  the  con- 
traction in  the  first  He  is  disregarded,  the  verse  will  have  the 
required  number  of  syllables. 

5. 1. 39.    S.  Foyes.    Plautus,  Aul.  582-3 : 

Nunc  hoc  mihi  factumst  optumum,  ut  ted  auferam, 
Aulam,  in  Fidei  fanum:   ibi  abstrudam  probe. 

The  name  Foyes  was  probably  suggested  by  the  above  temple  of 
Fides.  However,  see  Beaumont  and  Fletcher,  Knight  of  the  Burn- 
ing Pestle  (IVks.  2.217)  : 

But  in  the  dark  will  wear  out  my  shoe-soles 
In  passion  in  Saint  Faith's  church  under  Paul's. 

In  a  note  to  this  passage,  the  editor  cites  Stow,  Survey  3. 145  (ed. 
1720)  :    'At  the  west  end  of  this  Jesus  Chappel,  under  the  Quire 
of  Pauls,  also  was,  and  is,  a  Parish  Church  of  St.  Faith,  commonly 
called  St.  Faith  under  Pauls.' 
5.1.43-6.    These  lines  will  admit  of  a  metrical  arrangement: 

Jaq.     [within.]     Who  calls?  who's  there? 

Ang.  Jaques. 

Jaq.     [within.]  Who  calls? 

Ang.  Steward, 

He  comes,  he  comes. — Jaques. 

Jag.  What  voice  is  this? 

5. 1.  53.  My  deere  Lar.  In  the  Aulularia  of  Plautus,  the  house- 
hold god  speaks  the  Prologue. 

5. 1.  57.  Musical!  as  the  spheares.  An  allusion,  of  course,  to 
the  familiar  theory  originated  by  P3d:hagoras.  See  Chaucer,  Park' 
ment  of  Foules  60-3  : 

And  after  that  the  melodye  herde  he 
That  cometh  of  thilke  speres  thryes  three. 
That  welle  is  of  musik  and  melodye 
In  this  world  heer,  and  cause  of  armonye. 


Act  5]  Notes  177 

Cf.  Dekker  (quoted  in  Park's  Heliconia  3.  447)  : 

Bridegroome  of  morning,  dayes  eternall  king, 

To  whom  nine  Muses  (in  a  sacred  ring) 

In  daunces  sphericall,  trip  hand  in  hand, 

Whilst  thy  seaven-stringed  lute  theyr  feete  commaund; 

Whose  motion  such  proportioned  measure  beares, 

That  to  the  musicke  daunce  nine  heavenly  spheares. 

M.  of  Venice  5.  i.  60 : 

There's  not  the  smallest  orb  which  thou  behold'st 
But  in  his  motion  like  an  angel  sings. 

Brewer,  Lingua  (5.  166,  Dodsley,  1825)  : 

I  hear  the  celestial  music  of  the  spheres, 
As  plainly  as  ever  Pythagoras  did. 

See  also  Cynthia's  Revels  2.  223 ;  Poetaster  2.  389 ;  Staple  of  News 
5-253;  Sad  Shepherd  6.281;  Prince  Henry's  Barriers  7. 153;  Epi- 
gram 130  8.  230 ;  Underwoods  9.  38 ;  Dante,  Par.  i.  78 ;  6. 126 ;  Purg. 
30.93;  As  You  Like  It  2.7.6;  T.  Night  3. 1. 121 ;  Ant.  and  Cleo. 
5.2.84;  Pericles  5.1. 231;  Lodge,  Reply  to  Stephen  Gosson  {Wks. 
1.25);  Webster,  Duchess  {Wks.  1. 199) ;  Dekker,  Roaring  Girl 
{Wks.  3.203)  ;  Middleton,  Family  of  Love  {Wks.  3.49)  ;  Brewer, 
Lingua  (5.166,  Dodsley,  1825);  Montaigne,  Essays  1.22;  Browne, 
Religio  Medici  2.  9 ;  Milton,  Nativity  Ode  13,  and  P.  L.  5. 169,  177-9, 
620-7. 

For  various  theories,  arranging  the  planets  so  as  to  form  a 
diapason,  or  octave,  see  Nicomachus,  Enchirid.  Harm.,  ed.  Meibom, 
P-  33 ;  Censorinus,  De  Die  Nat.  chap.  13.  Cf.  Pliny,  Hist.  Nat. 
2.  22.  20 ;  Plato,  Timaeus  35 ;  Cicero,  Somn.  Scip.  chap.  5,  and  De 
Nat.  Deor.  3. 11.  These  are  from  Professor  Cook's  article,  cited 
below. 

Aristotle,  De  Caelo  2.9,  and  Aquinas  (on  Job  38.37),  oppose  the 
theory  of  the  music  of  the  spheres. 

For  a  valuable  note  discussing  the  subject,  together  with  a  long 
list  of  references,  see  Albert  S.  Cook,  'Notes  on  Milton's  Ode  on 
the  Morning  of  Christ's  Nativity'  {Transactions  of  the  Connecticut 
Academy  of  Arts  and  Sciences  15.342-4). 

5.1.62-3.     laques  shall  be  a  king.     Plautus,  Aul.  704: 
Ego  sum  ille  rex  Philippus.    O  lepidum  diem. 

5. 1.  64.  To  a  f coles  paradice.  'A  state  of  illusory  happiness  or 
good  fortune;  enjoyment  based  on  false  hopes  or  anticipations.' — 
N.  E.  D.  The  earliest  quotation  of  this  expression  given  by  the 
A^.  E.  D.  dates  from  1462 :    Paston,  Letters   (no.  457)   2. 109,  ed. 


178  The  Cafe  is  Alterd  [Act  5 

Gairdner,  London,  1874:  'I  wold  not  be  in  a  folis  paradyce.*  See 
Rom.  and  Jul.  2.4.  175:  'If  ye  should  lead  her  into  a  fool's  paradise, 
.  .  .  it  were  a  very  gross  kind  of  behaviour' ;  Dekker,  Seuen 
Deadly  Sinnes  (Pr.  Wks.  2.  64)  :  'Vsurers :  who  for  a  little  money, 
and  a  greate  deale  of  trash  .  .  .  bring  yong  Nouices  into  a 
fooles  Paradice.'  It  will  be  recalled  that  Milton  {P.  L.  3. 495) 
writes  of  'A  Limbo  large  and  broad,  since  called  The  Paradise  of 
Fools.'  Mrs.  Browning's  use  of  the  expression  is  also  familiar 
(^Aurora  Leigh  4. 339)  :  'Love's  fool-paradise  Is  out  of  date,  like 
Adam's.' 

Other  examples  may  be  found  in  Greene,  Mamillia  (Wks.  2.99)  ; 
Tritameron  {Wks.  3.97);  Dekker,  Deuils  Answer  {Pr.  Wks. 
2. 100) ;  Middleton,  Family  of  Love  {Wks.  3. 12) ;  Robinson, 
Handefull  of  Pleasant  Delites  (p.  34,  Spenser  Soc,  1871)  ;  Roy, 
Rede  me  (p.  86,  ed.  Arber).  Nares  gives  an  example  from  Barnabe 
Rich,  Farewell.  Johnstone  wrote  The  Reverie  or  A  Flight  to  the 
Paradise  of  Fools  (1763).  A  discussion  of  the  expression  may  be 
found  in  Notes  and  Queries  (4.  8.  64 ;  6.  5.  7 ;  8.  9.  327,  414,  496 ; 
8.10.32). 

5. 1. 71.  O  me  no  oo's.  This  doubling  of  words  indicated 
impatience  at,  and  a  disagreement  with,  the  words  of  another. 
See  Tale  of  a  Tub  6.149:  'Pancridge  me  no  Pancridge';  Richard 
II  2.  3.  87 :  'Grace  me  no  grace,  nor  uncle  me  no  uncle' ;  Rom.  and 
Jul.  3.  5.  153 :  'Thank  me  no  thankings,  nor  proud  me  no  prouds' ; 
Beaumont  and  Fletcher,  Knight  of  the  Burning  Pestle  {Wks.  2.  164)  : 
'Plot  me  no  plots';  Peele,  Old  Wives  Tale  {Wks.  1.323):  'Parish 
me  no  parishes';  Arden  of  Faversham  2. 1. 106:  'Plat  me  no  plat- 
formes.'  See  Bartlett,  Quotations  (p.  861)  for  a  list  of  examples 
from  various  writers. 

5.1.83.  when  can  you  tell.  'A  proverbial  phrase  expressing 
scorn  at  the  demand  or  menace  of  another'  (Schmidt,  Shak.  Lex.). 
See  I  Hen.  IV  2.1.  42-5  : 

'Gads.    I  pray  thee,  lend  me  thine. 

Sec.  Car.  Ay,  when?  canst  tell?  Lend  me  thy  lantern,  quoth  he? 
marry,  I'll  see  thee  hanged  first.' 

In  Marlowe,  Edward  II  {Wks.  2.171),  when  Arundel  comes  to 
the  lords  with  a  request  from  the  king  to  speak  with  Gaveston, 
after  which  he  was  to  be  sent  back,  Warwick  exclaims :  'When, 
can  you  tell?  Arundel,  no.'  Jonson  used  the  phrase  in  Every  Man 
In  (i.  no),  first  edition,  immediately  before  'Much  wench.'  For 
other  examples  of  its  use,  see  Com.  of  Errors  3.  i.  52;  As  You  Like 
It  4.  I.  133 ;   Kyd,  Soliman  and  Perseda  (p.  193)  ;   Marlowe,  Faustus 


Act  5]  Notes  179 

{Wks.  1.298);  Middleton,  Blurt,  Master-Constable  (JVks.  1.77), 
and  The  Phccnix  (IVks.  i.  157). 

5.  1. 88.  the  God  of  gold.  A  reference,  of  course,  to  Plutus. 
See  T.  of  Athens  i.  1.287:  'Plutus,  the  god  of  Gold,  Is  but  his 
steward.'  Cf.  Hesiod,  Th.  969 ;  Phaedrus  4.  12.  5 ;  Aristophanes, 
Plutus;    and  the  character  of  the  same  name  in  Lucian's  Titnon. 

The  Encycl.  Brit,  (nth  ed.)  says  that  the  custom  of  regarding 
Mammon  as  the  god  of  riches  had  its  origin  in  Milton,  P.  L. 
I.  679.     See  Matt.  6.  24;   Spenser,  Faerie  Queene  2.  7.  39  (cf.  2.  7. 8)  : 

Suffise  it  then,  thou  Money  God,  (quoth  hee) 
That  all  thine  ydle  offers  I  refuse. 

In  Love  Restored,  Jonson  refers  to  both  Plutus  and  Mammon  (7. 
205-7). 

5. 1. 90.  The  insertion  of  my  by  Whalley  and  Gifford  seems 
unnecessary,  as  fair  and  many  other  monosyllables  ending  in  r  or 
re  were  frequently  pronounced  as  disyllables  (Abbott  480). 

5. 2.  —  Enter  Christ.  This  should  clearly  be  a  new  scene. 
Christophero  has  been  to  keep  his  appointment  with  Angelo  and 
Rachel  at  Saint  Foyes,  and,  not  meeting  with  them,  has  returned  to 
the  house  of  Jaques  to  see  if  by  chance  they  might  still  be  there. 
Sufficient  time  should  be  given  for  this.  Then,  too,  Jaques'  discovery 
has  changed  the  situation. 

5.  2.  5.  O  God,  the  case  is  alterd.  The  following  is  the  begin- 
ning of  Euclio's  frenzied  outburst  of  fourteen  lines,  six  of  which 
are  addressed  to  the  audience :    Plautus,  Aul.  713-5  : 

Peril,  interii,  occidi.     Quo  curram?  Quo  non 

curram?  Tene,  tene.  Quem?  Quis? 

Nescio,  nil  uideo,  caecus  eo  atque  equidem  quo  eam 
aut  ubi  sim  aut  qui  sim 

Nequeo  cum  animo  certum  inuestigare. 

5.2.7-8.    mine  Angels?  wher's  my  gold?    Why  Rachel?    The 

reminiscence  here  of  Shylock  and  Barabas  has  been  pointed  out  by 
Ward  (1.346,  note).  Cf.  M.  of  Venice  2.8.15-7:  'My  daughter! 
O  my  ducats!  O  my  daughter';  Marlowe,  Jew  of  Malta  (Wks. 
2-  37)  :  'O  my  girl,  my  gold,  my  fortune,  my  felicity' ;  cf.  ib.,  p.  29 : 
'My  gold !    my  gold,'   etc. 

There  is  probably  no  significance  in  these  resemblances,  for,  as 
Schelling  says :  'Jonson  seems  to  have  scorned  to  borrow  ideas  from 
the  contemporary  drama  about  him,  going  either  to  the  classics  or 
at  least  to  less  obvious  modern  sources'  (1.540). 


i8o  The  Cafe  is  Alterd  [Act  s 

5.  2.  9.  Thou  eatest  my  flesh  in  stealing  of  my  gold.  Cf.  M. 
of  Venice  4.  1.376:  'You  take  my  life  When  you  do  take  the  means 
whereby  I  live.'  In  a  note  to  the  latter,  Halliwell  (Variorum  ed., 
p.  227)  refers  to  Ecclesiasticus  34. 22 :  'He  that  taketh  away  his 
neighbour's  living,  slayeth  him.'  Cf.  also  Arden  of  Faversham 
1. 1.474;   Marlowe,  Jew  of  Malta  (Wks.  2.24). 

5. 2. 12.  Comes  instead  of  coni'st.  The  t  was  dropped  because 
the  next  word  begins  with  th  (Franz  152). 

5,  2. 19.  what  Hienna  cald  me  out  of  dores.  That  the  hyena  was 
thought  to  imitate  the  human  voice,  is  mentioned  by  Pliny  (Hist. 
Nat.  8. 44)  :  'Sed  maxime  sermonem  humanum  inter  pastorum 
stabula  assimulare,  nomenque  alicuius  addiscere,  quem  evocatum 
foras  laceret.'  See  also  Bartholomaeus  Anglicus  (p.  368)  :  'The 
Hiena  .  .  .  commeth  to  houses  by  night,  and  feineth  mannes 
voyce  as  hee  maye,  for  men  should  thinke  that  it  is  a  man.'  The 
N.  E.  D.  quotes  the  following  from  the  Geneva  Bible  (1560),  Eccle- 
siasticus 13.19:  'What  felowship  hathe  hyena  [marg.  Which  is  a 
wilde  beaste  that  counterfaiteth  the  voyce  of  men,  and  so  entiseth 
them  out  of  their  houses  and  devoureth  them]  with  a  dogge?' 

See  also  Marston,  Eastward  Ho  (Wks.  3.  115)  :  'I  will  neither 
yield  to  the  song  of  the  siren  nor  the  voice  of  the  hyena' ;  Greene, 
Groats-worth  of  Wit  (Wks.  12.  114)  :  'When  this  painted  sepulchre 
[Lamilia]  was  shadowing  her  corrupting  guilt,  Hiena-like  alluring 
to  destruction.' 

For  other  references,  see  Marbeck,  Book  of  Notes  (1581)  488; 
Dekker,  Seuen  Deadly  Sinnes  (Pr.  Wks.  2.21)  ;  Nashe,  Vnfortunate 
Traveller  (Wks.  2.284);  and  cf.  the  following:  Volpone  3.279; 
Staple  of  News  5.  202;  As  You  Like  It  4. 1. 156;  Lyly,  Euphues  to 
Philautus  (Wks.  1.250). 

5. 3.  —  Enter  luniper.  Onion.  Giflford  adds  'richly  dressed, 
and  drunk.'  We  may  infer  the  latter  from  their  actions,  and  from 
remarks  made  by  Onion.  These  would  seem  to  imply  that  Juniper 
is  in  a  worse  condition  than  Onion :  'While  I  hold  my  friend' ; 
'You  must  do  more  then  his  legges  can  do  for  him';  'You  see  in 
what  case  [condition]  he  is.' 

5. 3. 5-6.  a  cupple  of  buzzards  turn'd  to  a  paire  of  peacocks. 
Cf .  Every  Man  Out  2. 95 :   'O,  here  be  a  couple  of  fine  tame  parrots.' 

5. 3. 10.  you  must  inueigle,  etc.  Achilles  served  Ajax  in  the 
same  way,  Troi.  and  Cres.  2.  3.  99-100 : 

Nest.    What  moves  Ajax  thus  to  bay  at  him. 
Ulyss.    Achilles  hath  inveigled  his  fool  from  him. 

5. 3. 12.  For  hei  ho,  Giflford  writes  hey  ho.  The  N.  E.  D.  defines 
the  latter  as    'An  utterance,  apparently  of  nautical  origin;     .    .    . 


Act  5]  NQtes  i8i 

often  used  in  the  burdens  of  songs.'  A  better  spelling  would  per- 
haps be  heigh-ho,  an  exclamation,  which  the  N.  E.  D.  gives,  among 
others,  as  expressing  disappointment. 

5.3.31-2.  what  parentage?  what  ancestry?  what  genealogy  is 
he?  Cf.  Every  Man  In  1.26:  'Thy  lineage,  monsieur  Cob!  what 
lineage,  what  lineage?' 

5. 3. 38.  portmantu.  Cunningham  suggests  that  this  way  of 
spelling  the  word  indicates  its  pronunciation. 

5. 3. 44.  Ningle.  The  same  as  ingle.  See  Glossary ;  also  note 
on  1. 1.26.  In  Dekker,  Satiromastix,  Horace  is  repeatedly  called 
ningle:  'Horace,  my  sweet  ningle,  is  alwayes  in  labour  when  I 
come'  {Wks.  1. 191)  ;  'You  did  it  Ningle  to  play  the  Bug-beare 
Satyre'  (1.259)  ',  cf.  1. 194,  211,  258,  261,  262,  and  passim.  See  also 
Massinger,  Virgin-Martyr  {Wks.  1.27):  'Priapus  .  .  .  was  the 
only  ningle  that  I  cared  for  under  the  moon';  Ford,  Witch  of 
Edmonton  {Wks.  3.220):  'You  shall  not  starve,  Ningle  Tom, 
believe  that';  and  ih.  (p.  221):  'O,  sweet  ningle,  thy  neuf  [fist] 
once  again;   friends  must  part  for  a  time.' 

5. 3. 46.  discourse?  cherish  thy  muse?  discourse?  Cf.  Poetaster 
2. 428 :   'To  him,  cherish  his  muse,  go.' 

5.3.47.  Of  used  for  about,  concerning  (Abbott  174;   Franz  517). 
5.  3. 48.    hang  sorrow.    Presumably  a  reference  to  the  proverb : 

'Hang  sorrow,  care  will  kill  a  cat.'  Ray  (p.  58)  adds :  'And  yet  a 
cat  is  said  to  have  nine  lives.'  It  is  quoted  in  Every  Man  In  1.  30, 
and  in  Wither's  Christmas  Carol.  The  last  part  of  the  proverb 
appears  in  Taylor,  Motto    {Wks.,  1630,  p.  56),  and  in  Much  Ado 

5. 1-  133- 

5.3.57.  Speake  legibly.  Cf.  Every  Man  In  1.30:  'He  does 
swear  the  legiblest.' 

5.  3. 60.  nor  King  nor  Keisar  shall.  Cf .  Tale  of  a  Tub  6. 146 : 
'Tell  me  o'  no  queen  or  keysar' ;  Spenser,  Faerie  Queene  6.  3.  5 : 
'This  is  the  state  of  Keasars  and  of  Kings';  also  3. 11.29;  4.7.1; 
5.  9.  29 ;  6. 12.  28. 

5- 3- 73-4-  you  must  do  more  then  his  legges  can  do  for  him, 
beare  with  him  sir.    Cf .  Every  Man  Out  2.  91 : 

'Fast.    Do  you  know  how  to  go  into  the  presence,  sir? 

Maci.    Why,  on  my  feet,  sir. 

Fast.    No,  on  your  head,  sir;    for  'tis  that  must  bear  you  out' 

Poetaster  2.  394 :    'Your  legs  do  sufficiently  shew  you  are  a  gentle- 
man born,  sir ;   for  a  man  borne  upon  little  legs,  is  always  a  gentle- 
man born.' 
5.  3.  79-82.     Cf.  Every  Man  In  i.  25 : 


i82  The  Cafe  is  Alterd  [Act  5 

'Step.     I'll  follow  you. 

E.  Know.    Follow  me!  you  must  go  before.' 

5.  3.  94-100.     Cf.  Every  Man  In  i.  22 : 

'E.  Know.    I  did  laugh  at  you,  coz. 
Step.    Did  you,  indeed? 
E.  Know.    Yes,  indeed. 
Step.    Why  then— 
E.  Know.    What  then? 
Step.    I  am  satisfied ;    it  is  sufficient.' 

Ih.  1. 1 16-7: 

'Bob.     It  is  not  he,  is  it? 

E.  Know.    Yes  faith,  it  is  he. 

Mat.    I'll  be  hang'd  then  if  that  were  he. 

E.  Know.    Sir,    ...     I  assure  you  that  was  he. 

Step.    Upon  my  reputation,  it  was  he. 

Bob.  Had  I  thought  it  had  been  he,  he  must  not  have  gone  so : 
but  I  can  hardly  be  induced  to  believe  it  was  he  yet.' 

Koeppel  {Ben  Jonson's  Wirkung,  p.  no)  has  called  attention  to  a 
similar  display  of  cowardice  given  by  Tucca  {Poet.  2.464). 

5.  3.  loi.  A  was  sometimes  omitted  after  what,  in  the  sense  of 
what  kind  of  (Abbott  86). 

5. 4. 9.  Sbloud  forms  the  first  foot.  This  license  was  sometimes 
allowed  in  the  case  of  monosyllabic  exclamations  (Abbott  481,  482). 

like  a  puppet.  In  a  mock-heroic  manner.  The  puppet-shows 
were  originally  developed  from  the  old  English  moralities.  They 
were  usually  to  be  seen  at  wakes  and  fairs,  and  their  popularity  was 
greatest  with  the  lower  classes.  At  the  beginning  of  the  reign  of 
James  I,  they  had  increased  to  such  an  extent  that,  in  order  to 
restrict  their  number,  a  law  was  enacted  requiring  the  owners  of 
such  shows  to  secure  a  license.  Of  this  law.  Knight  {London  1.42) 
says :  'While  the  people,  however,  were  willing  to  encourage  them, 
it  was  not  very  easy  for  statutes  to  put  them  down ;  and  if  there 
were  fewer  licensed  players,  the  number  of  unlicensed,  who  travelled 
about  with  motions  or  puppet-shows,  were  prodigiously  increased. 
The  streets  of  London  appear  to  have  swarmed  with  motions.' 

Jonson  mentions  several  masters  of  puppet-shows :  Pod,  Every 
Man  Out  2. 141 ;  Barth.  Fair  4. 473 ;  Epigram  97  8.  200 ;  Epigram 
129  8.229;  Cokely  and  Vennor,  Devil  is  an  Ass  5.  13;  Cokely  and 
others.  Epigram  129  8.  229 ;  'Young  Goose,'  New  Inn  5.  320.  Cf . 
Gifford's  note  on  Vennor,  Masque  of  Augurs  7. 414.  In  Satiro- 
mastix  {Wks.  1.243),  Dekker  calls  Horace  [Jonson]  'the  puppet- 
teacher.' 


Act  5]  Notes  183 

An  idea  of  the  character  of  these  shows  may  be  gained  from  their 
titles :  Jerusalem,  Nineveh,  Sodom  and  Gomorrah,  Jonas  and  the 
Whale,  The  Prodigal  Son,  Babylon,  London,  Norwich,  The  Gun- 
powder Plot,  Rome,  Julius  Ccesar.  The  following  mention  puppet- 
shows :  Barth.  Fair  4.473;  Every  Man  Out  2.19,  64;  IV.  Tale 
4.  3.  103 ;  Beaumont  and  Fletcher,  Knight  of  the  Burning  Pestle,  and 
Wit  at  Several  Weapons  (Wks.  2.185;  4-12);  Middleton,  Blurt, 
Master-Constable  {Wks.  1.8);  Spanish  Gipsy  (6.188);  Father 
Hubbard's  Tales  (8.79);  Marston,  Dutch  Courtesan  {Wks.  2.51); 
Brewer,  Lingua  (5. 164,  Dodsley,  1825).  Collier  gives  a  number  of 
others  {Punch  and  Judy). 

The  following  are  a  few  examples:  Dekker,  Jests  {Wks.  2.317)  : 
'He  thought  like  Bankes  his  horse,  or  the  Baboones,  or  captaine 
Pold  with  his  motion,  shee  should  haue  showne  him  some  strange 
&  monstrous  sighte';  T.  G.  of  Verona  2.  i.  100:  'O  excellent  motion  1 
O  exceeding  puppet !  Now  will  he  interpret  to  her' ;  Poetaster  2. 
436:  'What's  he  with  the  half  arms  there,  that  salutes  us  out  of 
his  cloak,  like  a  motion' ;  Every  Man  Out  2.  7 ;  Cynthia's  Revels 
2.225,  236,  279;  Epicoene  3.392,  463;  Alchemist  4.29,  152;  Staple 
of  News  5.183;  Beaumont  and  Fletcher,  Woman-Hater  {Wks. 
1.42)  ;   Nashe,  Pasquill  {Wks.  i.  91)  ;  Ford,  'Tis  Pity  {Wks.  i.  145). 

A  good  example  of  how  a  puppet-show  was  conducted  is  to  be 
found  in  Barth.  Fair  4.  482-508.  Another  of  smaller  pretensions  is 
given  in  Tale  of  a  Tub  6.  220-5.  See  also  Don  Quixote  2.  26.  The 
following  give  a  brief  account  of  puppet-shows:  Encycl.  Brit,  (nth 
ed.) ;  Chambers  (2. 157-60)  ;  Strutt  (pp.  163-6) ;  Alden,  Barth. 
Fair  {Yale  Studies  25.  xv-xviii)  ;  Flogel,  Geschichte  des  Grotesk- 
komischen  (2. 1-70).  For  a  more  complete  study,  see  Mangnin, 
Histoire  des  Marionnettes;  Dietrich,  Pulcinella;  and  cf.  Collier, 
Punch  and  Judy.  The  last  contains  a  typical  performance  of  a 
Punch  and  Judy  show  of  the  i8th  century,  together  with  interesting 
engravings  by  Cruikshank. 

5. 4. 16.  Without  or  touch  or  conscience  of  religion.  Cf . 
Catiline  4.  244 : 

[Ambition],  being  both  a  rebel 
Unto  the  soul  and  reason,  and  enforceth 
All  laws,  all  conscience,  treads  upon  religion, 
And  offereth  violence  to  nature's  self. 


lb.  4-  315 : 


Dost  thou  ask 
After  a  law,  that  would'st  have  broke  all  laws 
Of  nature,  manhood,  conscience,  and  religion? 


184  The  Cafe  is  Alterd  [Act  5 

'This  is  the  line  which  Mr.  Collier  censures  Gifford  for  not  chang- 
ing to  "Without  a  touch  of  conscience  or  religion." ' — C.  Consider- 
ing the  fact  that  one  of  the  meanings  of  conscience  at  that  time  was 
consciousness,  the  phrase  is  intelligible  as  it  stands. 

5. 4.  i8-g.  formes,  that  the  true  scale  of  friendship  Had  set 
vpon  their  faces.    Cf.  Sejanus  3. 131 : 

But  away, 
With  the  pale  troubled  ensigns  of  great  friendship 
Stamp'd  in  your  face. 
Whalley  says  the  latter  is  from  Juvenal,  Sat.  4.  5.  yz- 
5. 4.  26-7.    What  good  thing  haue  you  in  you  to  be  proud  of? 
Are  y'  any  other  then  a  beggars  daughter? 
Cf .  Every  Man  Out  2.  83 :   'Why,  what  has  he  in  him  of  such  virtue 
to  be  regarded,  ha?'     Cynthia's  Revels  2.216:    'What  are  you  any 
more  than  my  uncle  Jove's  pander  ?' 

5. 4. 35.  Rachel  is  not  to  be  read  as  a  part  of  the  verse  (Abbott 
512). 

5. 4. 62-5.  thy  tongue  .  .  .  Like  the  rude  clapper  of  a  crazed 
bell.  Cf.  Much  Ado  3.  2. 12-3 :  'He  hath  a  heart  as  sound  as  a  bell, 
and  his  tongue  is  the  clapper.' 

5. 4.  66.  I,  that  in  thy  bosome  lodg'd  my  soul.  This  sentiment 
was  expressed  by  other  writers  :    Richard  III  3.  5.  27 : 

Made  him  my  book,  wherein  my  soul  recorded 
The  history  of  all  her  secret  thoughts. 

W.  Tale  1. 2. 235  : 

I  have  trusted  thee,  Camillo, 
With  all  the  nearest  things  to  my  heart,  as  well 
My  chamber-councils. 

Beaumont  and  Fletcher,  Little  French  Lawyer  (Wks.  3.477)  : 
To  you  all  secrets  of  my  heart  lie  open. 
And  I  rest  most  secure  that  whatsoe'er 
I  lock  up  there,  is  as  a  private  thought. 

Greene,  Friar  Bacon  and  Friar  Bungay  (IV ks.  13.  50)  : 

Did  I  unfold  the  passions  of  my  love, 
And  lock  them  in  the  closet  of  thy  thoughts. 

Heywood,  Woman  Killed  with  Kindness  (Wks.  2.  140)  : 
Did  I  not  lodge  thee  in  my  bosom? 
Wear  thee  here  in  my  heart. 

The  omission  of  a  verb  to  go  with  /  was  probably  intentional. 
Paulo's  excitement  would  excuse  such  an  oversight. 


Act  5]  Notes  185 

5-  4-  73-5-    The  very  owle  .  .  .   Shall  hoot  at  thee.    The  cry  of 

the  owl  was  considered  an  omen  of  impending  calamity.  See  Virgil, 
^n.  4.462: 

Solaque  culminibus  ferali  carmine  bubo 
Saepe  queri  et  longas  in  fletum  ducere  voces. 

Also  Pliny,  Hist.  Nat.  10.  12.  16;  Lucan  5.  396;  Ovid,  Metam.  $■  550 ; 
6.432;  10.453;  Chaucer,  Parlement  of  Foules  343:  'The  oule  eke, 
that  of  deth  the  bode  bryngeth' ;  i  Hen.  F7  4.  2.  15  :  'Thou  ominous 
and  fearful  owl  of  death' ;  Epicoene  3.  392 :  'Before,  I  was  the  bird 
of  night  to  you,  the  owl ;  but  now  I  am  the  messenger  of  peace, 
a  dove.' 

Other  references  may  be  found  in  Chaucer,  Legende  of  Good 
Women  2253-4;  Spenser,  Faerie  Queene  1.9.33;  Macbeth  2.2.3; 
Richard  HI  4.4.509;    3  Hen.  VI  5.6.44;    Sad  Shepherd  6.249. 

Brand  (3. 206)  discusses  this  superstition. 

5.  5. 19.  Accent  peremptory  on  the  first  syllable  {Grammar  9.  266 ; 
Abbott  492). 

5.5.31.  The  first  syllable  of  unjust  (also,  unkind,  1.  33)  receives 
the  accent.     Cf.  peremptory,  1.  19. 

5.  5.  33.  Read  through  as  a  disyllable.  Cf.  Abbott  478  (example 
from  2  Hen.  VI  4.  1.87). 

5. 5. 40.  Whalley  and  Giflford  wrote  think'st  thou.  The  verse 
may  perhaps  be  read  without  any  change  of  text  (Abbott  469,  p. 
354): 

My  Sonne,   |   Christo   |   phero,  thinkst   |   it  pos    |   sible. 

5. 5.  51.  hares  eyes.  The  hare's  keenness  of  vision  seems  to  have 
been  proverbial.  The  N.  E.  D.  in  this  connection  quotes  Carpenter : 
'Its  eyes  are  so  situated  that  the  animal  can  see  nearly  all  around 
it.'  See  Pliny,  Hist.  Nat.  11.54;  'Quin  et  patentibus  dormiunt 
lepores,  multique  hominum,  quos  Kopv^avTiq-v  Graeci  dicunt';  Ste- 
phenson (p.  275)  :  'He  sleeps  like  a  hare,  with  his  eyes  open,  and 
that's  no  good  sign' ;  Poetaster  2.  426 :  'You  walk  with  hare's  eyes, 
do  you.' 

5.  5-  63-4-  O  confusion  of  languages.  A  reference  to  the  same 
occurs  in  The  New  Inn  5.  320 : 

Host.    A  strange  division  of  a  family! 

Lov.    And  scattered  as  in  the  great  confusion ! 

Also  in  Time  Vindicated  8. 12. 

5.  5.  66-7.  three  constant  passions.  Of  a  father  for  his  son,  a 
lover  for  his  mistress,  and  a  miser  for  his  gold. 


i86  The  Cafe  is  Alterd  [Act  5 

5.  5.  78-9.  Is  not  this  pure.  'Pure  here  means  matter  for  won- 
der, as  being  such  pure  human  nature.' — C.  On  the  contrary,  is  not 
pure  here  used  ironically,  meaning  fine,  capital,  or  excellent f  It  is 
true  that  the  first  illustration  in  the  N.  E.  D.  of  the  use  of  the  word 
in  this  sense  is  1675,  but  the  situation  seems  to  warrant  an  ironical 
interpretation. 

5. 5. 105-6.  wrong  not  your  age  with  flexure  of  a  knee.  Cf . 
Every  Man  In  1.25:  'Come,  wrong  not  the  quality  of  your  desert, 
with  looking  downward.' 

5.  5.  iog-i2.  O  worthy  gentlemen,  I  am  ashamd.  Plautus,  Capt. 
993-6: 

Et  miser  sum  et  fortunatus,  si  uera  dicitis. 

Eo  miser  sum,  quia  male  illi  feci,  si  gnatust  mens. 

Eheu,  quom  ego  plus  minusue  feci  quam  me  aequom  fuit. 

Quod  male  feci,  crucior :  modo  si  infectum  fieri  possiet. 

5.  5. 117-32.     How  long's  that  since,  etc.    Plautus,  Capt.  980-4: 

Phil.    Quam  diu  id  factumst?        Stal.    Hie  annus  incipit 

uicensumus. 
Phil.    Falsa  memorat.        Stal.    Aut  ego  aut  tu :   nam 

tibi  quadrimulum 
tuous  pater  peculiarem  paruolo  puero  dedit. 
Phil.    Quid  erat  ei  nomen?     Si  uera  dicis,  memoradum 

mihi. 
Stal.    Paegnium  uocitatust:    post  uos  indididistis  Tyndaro. 

5. 5. 119-21.    Cha.    how  old  was  he  then? 

Count.    I  cannot  tel,  betweene  the  yeares  of 
three  and  foure,  I  take  it. 

Cf.  Every  Man  In  i.  138: 

'Clem.    About  what  time  was  this? 

Know.    Marry,  between  one  and  two,  as  I  take  it.' 

betweene  the  yeares  of  three  and  foure.  Earlier  in  the  play 
(i.  5.  175-6)  Camillo's  age  is  given  as  two  years. 

5.5.126,135.     Read  tablet  as  a  trisyllable   (Abbott  477). 

5.  5. 127.  Emperour  Sigismund.  There  was  only  one  of  that 
name  to  hold  this  title,  Sigismund  (of  Luxemburg),  Roman  emperor, 
and  king  of  Hungary  and  Bohemia.  He  was  the  son  of  the  emperor 
Charles  IV;  born  1361,  and  died  1437.  The  name  has  no  historical 
significance  here.  An  emperor  was  introduced  to  dignify  Camillo, 
and  one  name  was  as  good  as  an  other. 


Act  5]  Notes  187 

5-  5- 133-     Scan  (Abbott  483)  : 

Then  |  no  more  |  my  Gas  |  per?  but  |  Camillo. 

5. 5. 148-9.  I  deliuered  as  much  before,  but  your  honour 
would  not  be  perswaded.  Cf.  Every  Man  In  1.60:  'Your  brother 
delivered  us  as  much' ;  Cynthia's  Revels  2.  350 :  'I  see  that  come  to 
pass,  which  I  presaged  in  the  beginning' ;  Poetaster  2.  378 :  'I  did 
augur  all  this  to  him  beforehand' ;  Epicoene  3.  367 :  'I  presaged  thus 
much  afore  to  you.' 

5. 5. 150,  I  drempt  of  this.  See  Mrs.  Ott's  experience  with 
dreams  in  Epicoene  3.385.  In  Lyly,  Sapho  and  Phao  (Wks.  2. 
405-7),  a  whole  scene  is  taken  up  with  the  relation  of  dreams.  See 
also  Endimion's  dream  (Lyly,  Wks.  3.66-7).  In  Nashe,  Terrors  of 
the  Night  (IVks.  1.355),  there  is  a  discussion  on  dreams. 

Shakespeare  has  many  allusions  to  the  subject.  The  following 
may  be  given  as  typical :  M.  of  Venice  2.  5. 18 ;  2  Hen.  VI  i.  2. 31 ; 
Troi.  and  Cres.  5.3.6;  Rom.  and  lul.  5.1.2;  /.  Ccesar  2.2.76,  90; 
Othello  I.  1. 143. 

For  a  study  on  the  subject  of  dreams,  the  following  works  will 
be  of  value:  Biichsenschiitz,  Tratini  und  Traumdeutung  in  Alter- 
thume  (Berlin,  1868)  ;  Amgraldus,  Discourse  concerning  Divine 
Dreams  mentioned  in  Scripture  (tr.  Lowde,  London,  1676)  ;  Baake, 
Die  Verwendung  des  Traummotivs  in  der  Englischen  Dichtung  bis 
auf  Chaucer  (Halle,  1906)  ;  Seafield,  The  Literature  and  Curiosities 
of  Dreams  (2  vols.,  London,  1865)  ;   and  Brand  (3. 127). 

5.  5. 156.  thirty  thousand  golden  crownes.  The  crown  was  an 
English  coin  first  coined  by  Henry  VIII  in  gold,  but  since  Edward 
VI  it  has  been  of  silver.  Its  value  was  five  shillings,  which  in  U.  S. 
money  (reckoning  a  shilling  as  24  cents)  would  amount  to  $1.20. 
Jaques'  total  loss  would  therefore  be  about  $36,000.  Cf.  note  on 
5- 1-  25. 

5. 5. 188.  Ill  gotten  goods  neuer  thriue.  Heywood  (p.  42) 
writes  the  proverb :  'Evil-gotten  goods  never  proveth  well' ;  Ray 
(p-  79)  '•  'Ill-gotten  goods  seldom  prosper';  Hazlitt  (1907,  p.  256)  : 
'Ill-gotten  goods  thrive  not  to  the  third  heir.'  Both  Ray  and  Haz- 
litt give  numerous  versions  of  the  proverb  in  other  languages. 
The  latter  says  the  idea  is  in  Juvenal,  Sat.  14.  303 :  'Tantis  parta 
malis  cura  maiore  metuque  servantur.'  See  Mayor's  edition  of 
Juvenal  (2.  344)  for  references  to  Greek  and  Latin  writers. 

Cf .  Plautus,  Poenulus  4. 2. 22 :  'Male  partum  male  disperit' ; 
Cicero,  In  M.  Ant.  Or  at.  Philip  p.  2. 65 :  'Male  parta  male  dila- 
buntur' ;  j  Hen.  VI  2.  2.  46 ;  'Things  ill-got  had  ever  bad  success' ; 
Harrison  (p.  73). 


i88  The  Cafe  is  Alterd  [Act  5 

5.  5.  200.  your  cake  is  dow.  Your  project  has  failed.  The  prov- 
erb is  used  under  similar  circumstances  in  T.  of  Shrew  5.  1. 145. 
When  Gremio  learns  that  Lucentio  is  the  accepted  suitor  of  Bianca, 
he  remarks : 

My  cake  is  dough;   but  I'll  in  among  the  rest, 
Out  of  hope  of  all,  but  my  share  of  the  feast. 

Gremio  had  used  it  earlier  in  the  play  (i.  i.  no).  See  also  Settle, 
Reflections  on  .  .  .  Dryden's  Plays  (p.  4,  London,  1687)  :  'She 
is  sorry  his  Cake  is  dough,  and  that  he  came  not  soon  enough  to 
speed.' 

5. 5.  205-6.  a  couple  of  my  men,  were  become  gallants  of  late. 
Cf.  Cynthia's  Revels  2.  219 :  'You  are  turn'd  a  most  acute  gallant  of 
late.' 

5.5.214.  After  conjunctions,  the  to  before  the  infinitive  was 
sometimes  omitted  (Matzner  3. 17;  Abbott  353;  Franz  650,  Anm.  i). 

5.  5.  225.  transmutation  of  elements.  A  reference  of  course  to 
the  theory  held  by  the  alchemists  that  the  baser  metals  may  be 
changed  into  gold.     Cf.  Alchemist  4.  45  : 

This  night,  I'll  change 
All  that  is  metal,  in  my  house,  to  gold: 
And,  early  in  the  morning,  will  I  send 
To  all  the  plumbers  and  the  pewterers, 
And  buy  their  tin  and  lead  up ;   and  to  Lothbury 
For  all  the  copper. 

T.  of  Athens  5. 1. 117:  'You  are  an  alchemist;  make  gold  of  that'; 
K.  John  3. 1.78;  New  Inn  5.369;  Chaucer,  Canon's  Yeoman's  Tale 
972-1481. 

Jonson's  most  elaborate  satire  dealing  with  this  theory  is  The 
Alchemist.  Later  he  treated  the  subject  in  a  masque.  Mercury 
Vindicated. 

In  the  last  15  years,  new  interest  in  the  theory  has  been  created 
by  the  discovery  of  radium.  See  Encycl.  Brit.  (p.  258,  nth  ed.,  j.  v. 
Elements)  :  'In  recent  times  not  only  our  belief  in  the  absolute 
exactness  of  the  law  of  the  conservation  of  weight  has  been 
shaken,  but  also  our  belief  in  the  law  of  the  conservation  of  the 
elements.  The  wonderful  substance  radium,  whose  existence  has 
made  us  to  revise  quite  a  number  of  old  and  established  views, 
seems  to  be  a  fulfilment  of  the  old  problem  of  the  alchemists.  It 
is  true  that  by  its  help  lead  is  not  changed  into  gold,  but  radium  not 
only  changes  itself  into  another  element,  helium  (Ramsay),  but 
seems  also  to  cause  other  elements  to  change.' 


Act  s]  Notes  189 

The  Encycl.  Brit,  gives  an  extensive  list  of  articles  on  radium.  In 
addition  the  following  general  treatises  are  given  {s.  v.  Radioactiv- 
ity) :  Curie,  CEuvres  1908 ;  Rutherford,  Radioactive  Transforma- 
tions 1906 ;  Soddy,  Interpretation  of  Radium  1909 ;  Strutt,  Becquerel 
Rays  and  Radium  1904;  Makower,  Radioactive  Substances  1908; 
Joly,  Radioactivity  and  Geology  1909. 

See  also  Muir,  The  Story  of  Alchemy  and  the  Beginnings  of 
Chemistry  (N.  Y.,  1903). 

5.  5.  229.  For  the  which  with  a  repeated  antecedent,  see  Matzner 
3.  168;   Abbott  270;    Franz  337. 

stocks.  'Stocks  were  used  for  the  punishment  of  petty  oflfences. 
That  they  were  used  by  the  Anglo  Saxons  is  proved  by  their  often 
figuring  in  drawings  of  the  time  (see  Harleian  MSS.  No.  65). 
Though  never  expressly  abolished,  the  punishment  of  the  stocks 
began  to  die  out  in  England  during  the  early  part  of  the  19th  cen- 
tury, though  there  is  a  recorded  case  of  its  use  so  late  as  1865  at 
Rugby'  (Encycl.  Brit.,  nth  ed.).  See  Andrews'  Bygone  Punish- 
ments. 

5. 5.  240.  helogabolus.  Reminiscent  of  Heliogabalus,  the  Roman 
emperor,  referred  to  again  in  Volpone  3.  250,  and  in  The  Alchemist 

4-54- 

5. 5. 277.  March  faire  al.  An  expression  which  seems  to  have 
served  as  a  military  command.  Neither  the  N.  E.  D.  nor  the  C.  D. 
comments  on  it.  In  our  text  it  is  probably  used  as  an  indication 
that  the  play  is  over,  as  well  as  a  signal  for  the  players  to  leave 
the  stage. 

See  Beaumont  and  Fletcher,  Knight  of  the  Burning  Pestle  (JVks. 
2.218):  'March  fair,  my  hearts';  Hey  wood,  i  Edward  IV  (Wks. 
1. 26)  :  'March  fair,  ye  rogues,  all  kings  or  capknitters' ;  Greene, 
Orlando  Furioso  (Wks.  13. 161)  :  'March  faire,  fellow  frying  pan.' 
Dekker,  Shoemaker's  Holiday  (Wks.  1.70)  ;  New  Inn  5- 385. 

5. 5.  277-8.  a  faire  March  is  worth  a  kings  ransome.  Ray  (p. 
25)  writes  the  proverb:  'A  bushel  of  March  dust  is  worth  a  king's 
ransom.'  Grose  (p.  148)  explains  the  proverb  thus :  'England  con- 
sisting chiefly  of  clay  lands,  a  dry  March  makes  them  bear  great 
crops  of  corn ;  wherefore,  if  in  that  month  the  weather  is  so  dry, 
as  to  make  the  roads  dusty,  the  kingdom  will  be  benefited  to  the 
amount  of  a  king's  ransom,  which,  according  to  the  sum  paid  for 
King  Richard  I  to  the  Emperor  of  Germany,  was  one  hundred 
thousand  pounds.'  Brewer  (p.  550)  has  another  explanation  for  the 
origin  and  value  of  'a  king's  ransom':  'According  to  the  Anglo- 
Saxon  laws,  the  fine  of  murder  was  a  sliding  scale  proportioned  to 
the  rank  of  the  person  killed.    The  lowest  was  iio  and  the  highest 


X90 


The  Cafe  is  Alterd  [Act  5 


£60;    the  former  was  the  ransom  of  a  churl,  and  the  latter  of  a 

king.' 

See  Greene,  Farewell  to  Follie  (Wks.  9-277)  :  'Oft  haue  I  heard 
my  Father  saie  that  a  husbandman  plowed  out  of  the  ground  three 
things,  wealth,  health,  and  quiet,  which  (quoth  hee)  is  more  worth 
then  a  kinges  ransome' ;    Tusser,  Husbandry   (ed.  Mavor,  p.  125)  : 

March  dust  to  be  sold, 
Worth  ransom  of  gold. 

The  expression  is  discussed  in  Notes  and  Queries  (2.  5-272). 


GLOSSARY 

The  New  English  Dictionary  and  the  Century  Dictionary  have  been  the 
chief  authorities,  in  preparing  this  glossary.  Considerable  aid  has  been 
furnished  also  by  Schmidt's  Shakespeare-Lexicon  and  Nares'  Glossary. 

A  dagger  before  a  word  or  a  definition  indicates  that  the  word  or 
definition  is  obsolete ;  parallel  lines,  that  a  word  has  never  been  natural- 
ized;   an  interrogation  mark,  that  the  sense  is  doubtful. 


Abuse,  V.  tTo  deceive,  impose 
upon.    4.  8. 2. 

Acceptiue,  a.  fWilling  to  ac- 
cept, receive.    2.  7.  67. 

Acquaintance,  n.  fPhr.  to  take 
acquaintance  of:  To  acquaint  one- 
self with.    4.  7.  120. 

Addicted,  ppl.  a.  fGiven  up, 
surrendered.     5.  3.  13. 

Admirably,  adv.  fWonderfuUy, 
marvelously.     i.  i.  80. 

Admiration,  n.  Wonder,  aston- 
ishment,   surprise.     Arch.     4. 3. 36. 

Affect,  V.  To  fancy,  like,  or 
love.    Arch,  or   lobs.    2. 6. 37. 

Afore,  adv.  Arch,  and  dial.  Be- 
fore, in  advance.     1.5.209. 

Agone,  ppl.  a.  [Form  of  ago.^ 
[From  ^ago,  v.,  to  pass.]  Arch, 
zxid  dial.    Gone  by;    ago.     1. 1. 153. 

Amaze,  v.  fTo  bewilder,  con- 
found, perplex,     i.  5.  69. 

Amazed,  ppl.  a.  fi .  Terror- 
stricken,  terrified,  alarmed.  i.  5. 
186. 

t2.     Bewildered,  confounded.     5. 

5- 135- 

Anatomy,  n.  jA.  body  or  sub- 
ject for  dissection;  a  skeleton.  4. 
7.86. 


And,  &,  conj.  Arch,  and  dial. 
If.     1. 1. 100,  96. 

Angel,  n.  An  old  English  gold 
coin  having  as  its  device  the  Arch- 
angel Michael.  Value  about  ids. 
4-  7- 137- 

Anon,    adv.    flmmediately.     i.  3. 

13. 

Antique,  a.  [Form  of  antic.\ 
Antiquated ;  fantastic ;  grotesque. 
5. 1. 16. 

Appetite,  n.  Inclination,  liking, 
fancy.    Arch.    2. 3. 25. 

fApple-squire,  n.  A  page  who 
waited  on  loose  women.    4.  7.  50. 

Approue,  v.  fTo  prove,  con- 
firm.   4. 8. 44. 

Aries,  n.     See  note  on  2. 7. 149. 

Assoile,  V.  fTo  clear  up,  solve, 
resolve.    5.  3. 49. 

Attempt,  V.  To  tempt,  entice. 
Arch.    1.1.7. 

Auoide,  v.  impv.  [Form  of 
avoid.]  fBegone!  be  off!  away! 
2.  7. 148. 

Authenticall,  a.  Arch,  form  of 
authentic.    4. 4. 11. 

Ay  me,  int.  Cf.  the  It.  aime 
(ahime)  :  Ah  me !  oh !  alas !  5. 3. 
13- 


192 


The  Cafe  is  Alterd 


Backside,  n.  fBack  yard,  the 
rear  of  a  dwelling.    4.  5.  55. 

Badge,  n.  'A  distinctive  device, 
emblem,  or  mark,  used  originally 
to  identify  a  knight  or  distinguish 
his  followers  (=  cognizance  in 
Her.):—N.E.D.    4.7.188. 

Bands,  n.  pi.  Bonds,  fetters, 
chains.    3. 4.  20. 

Bastinado,  v.  [Sp.  bastonada.] 
Arch.  To  beat  with  a  stick;  to 
thrash,  thwack.     See  note  on  2.  7. 6. 

Bauke,  v.  trans.  Obs.  form  of 
balk:  fTo  overlook,  neglect.   2.5.3. 

Beads-man,  n.  A  man  of 
prayer ;  one  who  prays  for  the  soul 
or  spiritual  welfare  of  another. 
['The  term  by  which  men  used  to 
designate  or  subscribe  themselves 
in  addressing  their  patrons  and 
superiors,  answering  to  our  modern 
"humble  servant." '—iV.  E.  D.]  3. 
3- 30. 

Beare,  v.  Phr.  bear  action:  To 
admit  of  a  legal  process   or   suit. 

5-  5-  219. 

Belike,  adv.  Arch,  or  dial. 
Perhaps,  possibly,     i.  5.  260. 

Beshrow,  v.  [Form  of  be- 
shrew.]  'Evil  befall,'  'mischief 
take !'    Arch.    i.  5. 133 ;  5.  5.  65. 

Bestow,  V.  I.  Phr.  to  bestow 
oneself:  To  repair  to  one's  post. 
Arch.  1.4.20. 

2.  To  dispose  of.    Arch.    5.  i.  24. 

Betwixt,  prep.  Arch,  and  poet. 
Between.    3. 2.  39. 

Bewray,  v.  Arch.  To  reveal, 
declare,  make  known.    4.  5.  24. 

Bit  Lady,  int.  [Form  of  By'r 
Lady.]  Obs.  exc.  dial.  Contrac- 
tion of  by  our  Lady,  used  as  an 
oath,  form  of  adjuration,  or  ex- 
pletive.   4.  7.  93. 


Blew,  a.  Obs.  form  of  blue: 
The  distinctive  color  for  the  dress 
of  servants,  tradesmen,  etc.  See 
note  on  i.  5.  30. 

fBombard,  a.  Shaped  like  the 
large  leather  jugs  or  bottles  used 
for  holding  liquor.  See  note  on 
4.  7-  96. 

Bonet,  n.  Obs.  form  of  bonnet. 
4-  3-  60. 

Braue,  a.  Used  as  a  general 
epithet  of  admiration  or  praise: 
Excellent,  'capital,'  'fine.'  Arch. 
4.1.50;  4.7-8. 

Breake,  v.  To  interrupt  the  con- 
tinuance of  ;  suspend,  delay.   2.  5.  4. 

Breed,  n.    fOffspring.    2.  i.  22. 

Briske,  a.  fSmartly  or  finely 
dressed ;   trim,  spruce.    2.  i.  26. 

Bully,  n.  fA  term  of  endear- 
ment and  familiarity.     1. 1. 135. 

fBurgonet,  n.  Obs.  exc.  Hist. 
A  helmet  with  a  visor.    4.8. 114. 

Bursting,  ppl.  a.  Sudden.  3.2. 
23- 

Capable,  a.  fAble  to  perceive  or 
comprehend.    4.  4.  9. 

Carouse,  n.  fA  cupful  drunk 
'all  out,'  a  full  draught  of  liquor. 
Obs.  before  1700  (but  used  by 
Scott).    4-5-I3- 

Case,  n.  fi.  A  couple,  brace, 
pair.    2.  3. 1. 

2.  A  physical  condition.  ?Obs. 
(With  a  quibble  on  clothes.) 
S-3-I0I. 

Cashire,  v.  [Form  of  cashier.] 
To  put  away,  lay  aside,  dismiss. 
4-  5.  61. 

Catch,  V.  To  get,  receive.  2. 7. 
114. 

Cate,  n.  [Aphetized  form  of 
acate.]      Most    commonly    used    in 


Glossary 


193 


the  plural :     fVictuals,  food.     4.  6. 
22. 

fCatso,  int.  [It.  cazzo,  mem- 
brum  virile.]  Used  as  a  word  of 
exclamation.     5. 3.  i.     Cf.  Godso. 

Cause,  n.  Phr.  in  cause  of:  In 
the  case  of.    Obs.  exc.  dial.    2.4.31. 

Censure,  n.  Judgment;  opinion, 
esp.  expressed  opinion;  criticism. 
Obs.  or  arch.    2.  7.  64. 

Censure,  v.  fTo  pass  judgment 
or  opinion  on,  to  criticise.    2.  7.  51. 

Cerimony,  n.  0&.y.  form  of 
ceremony.    2.  4.  50. 

Champaigne,  n.  An  expanse  of 
level,  open  country,     i.  5. 191. 

Chance,  n.  An  unfortunate 
event,  mishap,  mischance.  Arch. 
1. 1.5- 

Chance,  v.  To  happen.  Some- 
what arch.    4.  7. 164. 

Chang,  V.  [Form  of  change.] 
fTo  shift  or  transfer  {from  one 
place    to    another).    Rare.    4.3.60. 

Changling,  n.  One  given  to 
change;  a  fickle  or  inconstant  per- 
son.   Arch.     1.2.6. 

Charge,  n.  Expense,  outlay. 
Arch.    2.  7.  56. 

Checke,  v.  fPhr.  to  check  at: 
To  aim  reproof  or  censure  at.  2. 
2.8. 

Circumstance,  n.  i.  Circumlocu- 
tion.   Arch.     1. 4. 24. 

2.  Formality,  ceremony.  Arch. 
4.4-8. 

Close,  adv.  Hidden,  secluded; 
fsecretly.    2.  5.  i. 

Cloth,  n.  fApparel.  See  note 
on  I.  5.  52. 

Coate,  n.  fUsed  chiefly  in  such 
phrases  as  a  man  of  his  coat: 
Profession,  class,  order.     1. 1. 139. 


fCold  conceited,  ppl.  a.  Having 
a  cold  opinion  of.     i.  4.  17. 

Come,  V.  I.  Phr.  to  come  home 
(to  one)  :  To  touch  or  affect 
deeply.  Now  rare.  See  note  on 
2.  2. 18. 

2.  To  come  about,  happen.  2. 7. 
130. 

t3.  To  be  becoming  or  appropri- 
ate (to),  befit.    4.4.8. 

Comment,  n.  fA  commentary; 
an  exposition,     i.  5.  95. 

Companion,  n.  fA  term  of  fa- 
miliarity or  contempt;  'fellow.'  i.  5. 
59. 

Complement,  n.  Obs.  form  of 
compliment,     i.  4. 34. 

Complot,  n.  Now  rare.  A  de- 
sign of  covert  nature  planned  in 
concert ;  a  conspiracy,  plot.  4. 8. 
65. 

Compunction,  n.  fPity,  com- 
passion.    I.  5. 88. 

Conceipt,  n.  2. 1. 12.  See  Con- 
ceit. 

Conceit,  n.  fi.  Notion,  idea, 
thought.     I.  5. 139. 

t2.  The  faculty  of  conceiving: 
apprehension,  understanding.  4.  i. 
57- 

Conceited,  ppl.  a.  fFancifuUy 
or  ingeniously  conceived;  clever, 
witty,  amusing.    2.  7.  83. 

Conceiue,  v.  To  understand, 
comprehend.    Arch.    i.  5. 95. 

fConni-catching,  ppl.  a.  [Form 
of  cony-  or  coney-.]  That  cheats 
or  tricks;  gulling,  swindling.  See 
note  on  4.  7.  61. 

Conscience,  n.  fConsciousness ; 
internal  or  mental  recognition  of. 
5-  4. 16. 

Consort,  n.    fConcert.    5. 5. 66. 


194 


The  Cafe  is  Alterd 


Counterfait,  n.  See  Counterfeit. 
5.  5.  176. 

Counterfeit,  n.  fAn  impostor, 
pretender.    4. 8.  43. 

llCouragio,  int.  [It.  corragio, 
courage.]  Courage !  as  a  hortatory 
exclamation.    2.  7.  ii5- 

Coy,  n.    tDisdainful.    5- 4- 25. 

Crazed,  ppl.  a.   fBroken,  cracked. 

5-  4-  65. 

Crie,  V.  fTo  beg.  fPhr.  /  cry 
you  mercy:  Nearly  equivalent  to  / 
beg  your  pardon,     i.  i.  57. 

Crotchets.     See  note  on  4.  5.  21. 

Crowne,  n.  An  English  coin 
valued  at  about  five  shillings.  See 
note  on  5.  5. 156. 

llCrusado,  n.  Obs.  [Sp.  and 
Pg.  cruzado.]  'A  Portuguese  coin 
bearing  the  figure  of  a  cross,  orig- 
inally of  gold,  later  also  of  sil- 
ver.'— N.  E.  D.  'The  earlier  coin 
was  equivalent  to  43  cents,  the  later 
to  52  cents,  in  U.  S.  money.' — C.  D. 
5. 3.  36. 

fCuUison,  n.  Obs.  corruption  of 
cognisance:  A  badge  worn  on  their 
sleeves  by  servants.    4.  7. 187. 

Curious,  a.  fCareful,  particular, 
scrupulous.    3.3.41. 

Cursie,  n.  Obs.  form  of  curtsy. 
2.  3-  7. 

fCypress.  Obs.  or  dial.  See 
note  on  4. 2.  68. 


Deafe,  v.  trans.  To  deafen. 
Arch,  or  dial.     5.  4.  76. 

Decade,  n.     See  note  on  2. 4.  44. 

Decorum,  n.  That  which  is 
proper  or  becoming;  fused  espe- 
cially in  dramatic,  literary,  or  artis- 
tic composition.     1. 1.87. 


Deepe,  a.  fGrave,  serious,  in- 
tense.   2.  3.  32. 

Deere,  a.  fPrecious  in  import 
or  significance,     i.  5.  237. 

Deliuer,  v.  fTo  declare,  state, 
tell.     5- 5- 148. 

Deprauer,  n.  fOne  who  vilifies, 
defames,  or  disparages,     i.  5. 144. 

Detect,  V.  fTo  betray,  expose. 
2.  4.  61. 

Deuise,  n.  [Form  of  device.] 
A  trick;  a  scheme,  plan,  project. 
2.7.120;   4.1.56. 

Disclaime,  v.  intr.  fPhr.  to  dis- 
claim in:  To  renounce  or  disavow 
all  part  in.     i.  5.  152 ;  5.  5. 163. 

Discouer,  v.  To  reveal  the  iden- 
tity of  a  person;  hence,  to  betray. 
Arch.    1. 1. 127. 

Disgrace,  v.  fTo  cast  shame  or 
discredit  upon.    2.  5.  18. 

Dispight,  n.  Obs.  form  of  de- 
spite. fPhr.  in  dispight  of:  In 
open  defiance  of,  in  overt  opposi- 
tion to.     4.  7. 106. 

Double,  V.  intr.  To  make  eva- 
sive turns  or  shifts ;  to  use  duplic- 
ity.    ?Obs.     1.5. 27. 

Doubt,  z;.    fTo  fear.     (?)4. 1.42. 

Drift,  n.  I.  Meaning  or  purport. 
2. 4.  17. 

t2.  A  scheme,  plot,  design.  5. 
4.6. 

Eene,  adv.  [Chiefly  in  colloq. 
form  e'en.]  Prefixed  to  verbs, 
with  vague  force  expressible  by 
'just,'  'nothing  else  but.'  Arch,  and 
dial.     I.  5. 139. 

Effects,  n.  pi.  i.  fManifesta- 
tions,  signs,  tokens,     i.  4. 43, 

2.  [Form  of  jaffects.]  Aflfection, 
love.     I.  5.  223. 


Glossary 


195 


Election,  n.  fjudicious  selec- 
tion ;  the  faculty  of  choosing  with 
taste  or  nice  discrimination,  i.  4. 
30. 

Elizium.  The  abode  of  the  souls 
of  the  good  and  of  heroes  exempt 
from  death,  in  ancient  classical 
mythology.     5.  i.  86. 

Enforce,  v.  fTo  add  force  to, 
intensify,  strengthen.    4.  8.  103. 

Enuious,  a.  fGrudging;  jealous. 
I.  5.  241. 

Enuy,  n.  fActive  evil,  harm, 
mischief.     4.  2.  29. 

Enuy,  V.  fTo  begrudge,  dislike. 
3-  5- 9- 

Epitaphs,  n.     See  note  on  2.  7.  9. 

Ere,  conj.  Before.  Arch,  or 
poet.     1.5.95- 

Ere,  prep.  Before.  Arch,  or 
Poet.    2. 2.  58. 

Estimation,  n.  f'Account'  or 
worth  in  the  opinion  of  others ;  re- 
pute.   4. 1.  32. 

Euen,  adv.  Exactly,  precisely. 
Now  chiefly  arch,  after  Biblical 
use.     5. 4.  46. 

fEuent,  V.  intr.  for  refl.  To  vent 
itself,  find  a  vent.     5.  4.  36. 

Exceeding,  adv.  Prefixed  to 
adjs.  or  advs.  Very  common  in 
I7th-i8th  c. ;  now  somewhat  arch. 
Exceedingly,     i.  3.  ^6. 

Exchange,  n.  fPhr.  in  exchange 
of:    In  exchange  for.    4.  i.  29. 

Exhibition,  n.  fAn  allowance  of 
money  for  a  person's  support.  5. 
3.80. 

Exigent,  n.  fNeeds,  require- 
ments.   4.  7.  40. 

Extasie,  n.  Obs.  form  of  ec- 
stasy. ['The  expressions  ecstasy 
of  woe,  sorrow,  despair,  etc.,  still 


occur,  but  are  usually  felt  as  trans- 
ferred.'— N.  E.  D.]     3.  3. 12. 

Extemporall,  a.  Now  rare. 
Extempore,  unpremeditated.  2.  7.  37. 

Faint,  v.  To  grow  weak  or 
feeble;     decline.      Obs.    exc.    poet. 

1.  4. 10. 

Falsifie,  v.  -[Fencing:  To  feign 
(a  blow)  ;   to  feint.    2.  7. 130. 

Fancie,  n.    fLove.    2. 6. 42. 

Fauour,  n.  Phr.  under  favor: 
With  all  submission,  subject  to  cor- 
rection.    Obs.  or  arch.     1.5.65. 

Fauour,  v.  Now  colloq.  To  re- 
semble in  face  or  feature.    4. 2.  57. 

Feare,  v.  trans.  To  inspire  with 
fear ;  to  frighten.  Obs.  exc.  arch. 
or  vulgar.    5.3.26. 

Feel,  V.    fTo  perceive  mentally. 

2.  7- 134- 

Fellow,  n.  fi-  A  term  of  famil- 
iarity (before  a  name)  :  'Friend,' 
'neighbor.'    i.  2.  i. 

2.  PI.    An  equal,  peer.    2.  2.  2. 

t3.  A  customary  title  of  address 
to  a  servant,    i.  3.  9. 

Fennell,  n.  An  emblem  of  flat- 
tery. ['A  fragrant  perennial  plant 
having  yellow  flowers,  cultivated 
chiefly  for  its  use  in  sauces  eaten 
with  salmon,  etc' — A''.  E.  D.]  See 
note  on  i.  5. 12. 

Fetch,  V.  To  bring  to  terms  ;  to 
cause  to  yield  or  to  meet  one's 
wishes.    Colloq.    3. 2. 49. 

Filthy,  a.  fContemptible,  foul, 
disgusting.    2.  7. 84. 

Flawe,  M.  A  sudden  burst  or 
squall  of  wind.    3.  4.  31. 

Fling,  n.  Chiefly  in  phr.  to  have 
a  fling  at:  A  passing  attempt  at  or 
attack  upon  something,     i.  3. 26. 


196 


The  Cafe  is  Alterd 


Foe,  int.  Form  of  faugh  or  foh. 
2.  7.  120. 

Fond,  a.  Foolish,  silly.  ['Since 
i6th  c.  the  sense  in  literary  use  has 
been  chiefly:  Foolishly  credulous 
or  sanguine.  In  dialects  the  wider 
sense  is  still  current.' — A''.  E.  D.] 
4. 6. 4. 

fFoot-cloth,  n.  A  large,  richly 
ornamented  cloth  laid  over  the  back 
of  a  horse  and  hanging  down  to 
the  ground  on  each  side.    4.  7. 185. 

fFore,  prep.  Before,  by:  used 
in  asseveration  or  adjuration.  4. 
2.6. 

Forme,  n.  fi.  A  grade  or  de- 
gree of  rank.    2.  i.  48. 

t2.  Beauty,  comeliness.     4.  6.  6. 

3.  Observance  of  etiquette,  cere- 
mony or  decorum.    5.  4.  18. 

French  crowne.  'A  gold  coin, 
value  4  shillings,  8  pence,  and,  from 
the  15th  to  the  i8th  century,  the 
common  English  name  for  the 
French  ecu,  as  well  as  for  other 
foreign  coins  of  similar  value.' — 
N.  E.  D.     See  note  on  5.  i.  25. 

Frolicke,  a.  [Form  of.  frolic] 
t Joyous,  merry,  mirthful,  i.  2.  5. 
['This  was  the  early  use.  In  later 
use  with  sense  derived  from  the 
verb:  frolicsome,  sportive.' — N.  E. 
D.] 

llFrustra,  adv.  Latin:  In  vain, 
to  no  purpose,     i.  5.  91. 

Gallant,  a.  Of  women:  fFine- 
looking,  handsome.     4. 2. 6. 

Gallant,  n.  fA  fashionably  at- 
tired beauty.    2.  5.  15. 

Gander,  n.  A  dull  or  stupid  per- 
son ;   a  fool,  simpleton.    5.  3.  54. 

Gar,  int.  phr.  by  gar:  From 
Gad,  a  minced  pronunciation  of 
God.    Rare  exc.  arch.    4.  3. 15. 


IIGarsoone.  [Form  of  mod.  F. 
gargon.]  A  boy  servant,  attendant. 
4. 1.  6. 

Gather,  v.  intr.  Fencing:  To 
collect  or  summon  up  (one's  ener- 
gies) ;  to  gather  oneself  (to- 
gether).   2.7.135. 

Geere,  n.  [Form  of  gear.] 
fAfifair,  business,  matter.     5.  i.  42. 

Genius,  n.  The  tutelary  god  or 
attendant  spirit.   See  note  on  1.4.  8. 

Glue,  V.  fi.  To  display  as  an 
armorial  bearing;  to  bear  (such  or 
such  a  cognizance).     Obs.  4.7.187. 

t2.  Phr.  give  end:  Put  an  end 
to ;  cease.    5. 4. 77. 

Go,  V.  I.  Phr.  go  to:  Used 
to  express  disapprobation,  remon- 
strance, protest,  or  derisive  incredu- 
lity.   Obs.  or  arch.    1. 1.21. 

2.  Phr.  go  your  ways:  Take  your 
way ;  go  about  your  business ;  or 
used  as  a  mere  expletive.  Obs.  or 
arch.    2.6. 1. 

fGod  a  mercy,  int.  phr.  Used  in 
the  sense,  'God  reward  you,'  as  an 
exclamation  of  applause  or  thanks. 
2.  7.  24. 

fGods  my  life,  int.  phr.  God 
save  my  life.  An  exclamation  of 
surprise.    3.  2. 14. 

God  so,  int.  ['?Var.  of  Gadso 
after  oaths  beginning  with  God's. 
Gadso  is  a  var.  of  Catso  (It.  cazzo, 
membrum  virile,  also  word  of  ex- 
clamation) through  false  connec- 
tion with  other  oaths  beginning 
with  Gad.'—N.  E.  D.]  An  excla- 
mation.    1. 1.  7. 

fGods  precious,  int.  phr.  God's 
(Christ's)  precious  (blood,  body, 
nails,  or  the  like).     1.5.34. 

Grace,  n.  fPhr.  to  do  (a  per- 
son) grace:  To  do  honor  to.  i. 
5. 214- 


Glossary 


197 


Gramercy,  int.  phr.  [Fr.  grand 
merci.]  Thanks ;  thank  you.  Obs. 
exc.  arch.    2.  2. 13. 

Great,  a.  ■\i.  Full  or  'big'  with 
sorrow,     i.  5. 195. 

t2.  Of  considerable  knowledge 
or  experience  in,  conversant  with. 
Obs.  with  in.    2.  4.  62. 

Greeke,  n.  Qualified  by  merry, 
mad,  gay:  A  merry  fellow,  a  roys- 
terer,  a  boon  companion.  See  note 
on  4.  7.  163. 

Griefe,  n.  fA  feeling  of  offense ; 
displeasure,  anger.     1.4.86. 

Grimly,  adv.  Austerely,  uncom- 
promisingly.    2.  3.  35. 

Ground,  n.  fi.  A  region,  land, 
country,     i.  i.  50. 

t2.  The  bare  floor  which  consti- 
tuted the  pit  of  the  theatre.  See 
note  on  1. 1. 106. 

Gull,  n.    A  dupe,  fool,  simpleton. 

4.  5- 15- 

Gull,  V.  To  make  a  gull  of;  to 
befool.    5.  3.  54. 

Ha.  Worn-down  form  of  have. 
1. 1. 109. 

Habit,  n.  Clothing,  raiment, 
dress.    Arch.     i.  5. 79. 

Handkerchier,  n.  Handkercher 
was  the  spelling  common  to  liter- 
ary usage  in  i6th  and  17th  c.  Now 
dial,  and  vulgar.  4. 5. 38.  Hand- 
kerchire.    4.  5.  53. 

fHangby,  n.  A  contemptuous 
term  for  a  dependent  or  hanger-on. 
4. 1.  62. 

Hap,  V.  Arch.  To  happen.  4. 
7. 163. 

Haplesse,  a.  Unfortunate,  un- 
lucky.   3.  3. 24. 

Hard  fauour'd,  a.  Unpleasing  in 
feature ;    ugly.    Arch.    2. 4. 18. 


fHarrot,  n.  Obs.  form  of  herald. 
fPhr.  herald  of  (at)  arms.  One  of 
his  duties  was  to  regulate  the  use 
of  armorial  bearings.    4.  7. 189. 

Haue,  V.  intr.  or  absol.  Phr.  to 
have  at  (some  one)  :  To  go  at  or 
get  at,  esp.  in  a  hostile  way.  See 
note  on  3.  i.  19. 

Hearing,  vbl.  n.  Something 
heard ;    report,  rumor,  news.    Dial. 

1. 1. 18. 

Heart,  n.  As  a  term  of  com- 
mendation: A  man  of  courage  or 
spirit.    2.  7. 2. 

Heauily,  adv.  With  sorrow, 
grief,  displeasure,  or  anger.  Obs. 
or  arch.     i.  5.  229. 

Heauinesse,  n.     fGrief,  sadness. 

I.  5- 115- 

Heauy,  a.  Serious,  grave;  sad. 
Now  rare  or  obs.    1. 1. 139. 

Hei  ho,  int.  [Form  of  heigh- 
ho.]  An  exclamation  usually  ex- 
pressing sighing,  weariness,  disap- 
pointment.    See  note  on  5.  3. 12. 

Hem,  pron.  Them.  In  the  17th 
c.  often  printed  as  'hem  or  'em. 
1. 1.  95. 

Hienna,  n.  Form  of  hiena,  the 
obs.  form  of  hyena.     See  note  on 

5. 2. 19. 

Hilt,  n.  fBy  extension,  a  sword- 
stick  or  foil.    2.  7.  3. 

Hind,  n.  i.  As  sing.  A  servant. 
(In    later    use,    a    farm    servant.) 

I- 5- 57. 

t2.  As  pi.  Household  servants, 
domestics.     5.  5. 218. 

Hitherward,  adv.  Arch.  Hither ; 
in  this  direction,     i.  4.  66. 

fHity  tity,  n.  Bo-peep.  4.  7. 19. 
['The  same  as  hoity-toity,  highty- 
tighty,  but  there  is  no  obvious  con- 
nection of  sense.' — N.  E.  D.] 


198 


The  Cafe  is  Alterd 


Honest,   a.    Chaste.    Arch.    2. 2. 

25- 

Hony,  a.  [Form  of  honey.'] 
Sweet ;    dear.    5.  5.  55. 

Horizon,  n.  [Form  of  horison, 
the  obs.  form  of  orison  =  etymol- 
ogically,  a  doublet  of  oration.]  A 
prayer,  supplication.    Arch.    4.  7.  26. 

fHough,  int.  Obs.  spelling  of 
ho,  int.  Also  form  of  how.  5. 3. 
24. 

Humour,  n.  i.  Mental  disposi- 
tion; constitutional  or  habitual 
tendency.     1. 1.34;    1.4.84. 

2.  Fancy,  whim,  caprice,  i.  2. 14; 
1.5.41. 

3.  State  of  mind  or  feeling; 
mood,  temper.    2.  2. 6 ;   2. 3.  22. 

I,  adv.  Obs.  form  of  ay.  1. 1. 
40. 

I.  Weakened  form  of  in,  prep., 
before  a  cons.,  as  in  /  faith.  Now 
dial,  or  arch.     i.  i.  30. 

lealous,  a.  Suspicious ;  appre- 
hensive of  evil,  fearful.  Dial.  2. 
4-  63. 

lealousie,  n.  Suspicion;  appre- 
hension of  evil;  mistrust.  Dial. 
4. 1.60. 

ledly,  adv.  Form  of  idly.  4. 6. 
20. 

Imbecell,  v.  Obs.  form  of  em- 
bezzle.  fTo  entice  away  (a  per- 
son)  from  service.    5.3.37. 

Imploy,  V.  [Form  of  employ.] 
fPhr.  to  employ  to:  To  send  (a 
person)  with  a  commission  to  (a 
person  or  place).    4.2.36. 

Impressure,  n.  Now  rare.  A 
mental  or  sensuous  impression,  i. 
4.48. 

Infidell,  n.  fOne  who  is  un- 
faithful to  some  duty.     (  ?)  4.  5.  35. 


Ingies,  n.  Form  of  Indies.  4.  3 
19. 

tingle.  [Also  engle,  enghle, 
inghle.  Origin  unknown.]  Orig- 
inally a  boy  favorite  (in  a  bad 
sense),  a  catamite;  but  later  used 
for  an  intimate.  See  note  on  1. 1. 
26 ;  2.  7.  92. 

flnjury,  v.  Supplanted  c.  1600 
by  the  current  injure,     i.  4.  16. 

Instance,  n.     i.   Occasion.     1. 1. 

45- 

2.    Example,     i.  4. 26. 

t3.  Phr.  to  give  instance:  To 
give  an  example.    5.  3.  75. 

Intelligence,  n.  Information, 
knowledge.     Now  rare  or  obs.     4. 

7- 174- 

Inuent,  v.    fTo  come  upon,  find. 

4. 7. 154. 

ludiciall,  a.    fjudicious.    4. 6. 19. 

Keepe,  v.  To  continue  to  make ; 
to  keep  up.    4.  6.  8. 

Kilderkin,  «.  A  cask  for  liquids, 
fish,  etc.,  with  the  capacity  of  half 
a  barrel.    4.  7.  96. 

Kind,  n.  Mode  of  action;  man- 
ner, way,  fashion.  Common  in 
17th  c.  in  phr.  in  any,  no,  this 
kind,  etc.     Now  arch.     1. 1.  75. 

Knaue,   n.    A   menial.    Arch.    i. 

5.9. 

Know,  V.  To  recognize,  distin- 
guish.   3.  5.  4. 

Knowledge,  n.  fPhr.  to  take 
knowledge  of:  To  recognize.  1. 1. 
130. 

fKooke,  n.  [Form  of  cokes.] 
A  fool,  a  simpleton,  one  easily 
'taken  in.'    5. 1. 15. 

Leaue,  v.  To  cease,  desist  from, 
stop.    Arch.     1. 5. 26. 


Glossary 


199 


Lend,  v.  fTo  hold  out  (a  hand) 
to  be  taken.    4.  3. 16. 

Lewd,  a.  fVile,  'base';  ill-bred. 
4. 8. 43- 

Like,  adv.  Rare  exc.  in  phr.  like 
enough,  very  like:  Likely,  prob- 
ably.   4. 8.  74. 

Like,  V.  Chiefly  quasi-trans.  with 
dative:  To  please,  be  pleasing  to, 
suit  a  person.  Arch,  and  dial.  1. 
5.35. 

List,  V.  Arch.  To  listen.  1.4. 
67. 

Lording,  n.  Frequently  in  pi.: 
Sirs  !  Gentlemen !     5.  5.  213. 

Lusty,  a.  fMerry,  cheerful;  gal- 
lant.   2.  5. 2. 

Maddam,  n.  fi.  Prefixed  to  a 
first  or  sole  name.    1. 1. 136. 

t2.  A  lady  of  rank  or  station. 
I.  5.  202. 

llMadona,  n.  [Form  of  Madon- 
na.] An  Italian  form  of  address 
or  title;  my  lady,  madam.  Obs. 
4.  7. 24. 

Maecen-asses.  A  quibble  on 
Maecenas,  the  well-known  patron  of 
Horace  and  Virgil.  See  note  on 
1. 1.  79- 

Maine,  n.  [Form  of  maim.] 
Obs.  or  arch.    Injury.     5.  5.1 11. 

Maine,  n.  fi.  Phr.  the  main  of 
all:  The  important  or  essential 
point.     1.4.64. 

2.  The  chief  matter  or  principal 
thing  in  hand.    4. 2.  34. 

Maine  chance.  See  note  on  4. 
7. 168. 

Make,  v.  Phr.  to  make  a  holi- 
day :    To  take  a  holiday.    4.  5.  64. 

Make  away,  ^trans.  To  put  (a 
person)  out  of  the  way,  put  to 
death.     Obs.     Now   superseded   in 


the  transitive  senses  by  make  away 
with.    5. 2. 18. 

Man,  V.  fTo  escort  (a  person, 
esp.  a  woman).    5.1.75. 

March  paine,  quasi-cd/.  [Form 
of  march-pane.]  fDainty,  super- 
fine. 4.  7.  48.  [The  noun  indicated 
'a  kind  of  confectionery  composed 
of  a  paste  of  pounded  almonds, 
sugar,  etc.,  made  up  into  small 
cakes  or  moulded  into  ornamental 
forms.'— ^.  E.  D.] 

Marie,  n.  and  v.  Obs.  exc.  dial. 
A  contraction  of  marvel.  1.2.29; 
1. 1.  III. 

Marry,  int.  Obs.  exc.  arch,  or 
dial.  [A  corruption  of  Mary.]  The 
name  of  the  Virgin  Mary  used  as 
an  oath  or  an  interjection  of  assev- 
eration, surprise,  or  indignation,  i. 
I.  35.     Mary.     1. 1, 151. 

fMart,  V.  [Contraction  of  mar- 
ket.] To  make  merchandise  of,  to 
traffic  in.     4.  8.  3. 

Masse.  An  abbreviation  of  by 
the  mass:  Used  in  oaths  and  assev- 
erations.   Dial.    2.  4.  59. 

Mathauell.  For  Machiavelli. 
See  note  on  4.  7. 36. 

Medle,  v.  [Form  of  meddle.] 
To  deal  with.    4.  5.  31. 

Melpomine.  In  classical  mythol- 
ogy, originally  the  Muse  of  song 
and  musical  harmony,  looked  upon 
later  as  the  especial  patroness  of 
tragedy.    4.  7.  36. 

Melt,  V.  fTo  be  overwhelmed 
with  dismay  and  grief,     i.  5. 87. 

Mercy,  n.  fPhr.  /  cry  you  mer- 
cy: Nearly  equivalent  to  /  beg  your 
pardon,     i.  i.  57. 

Meridian,  a.    See  note  on  4.  5.  50. 

Meritable,  o.  ?Obs.  Meritori- 
ous.   2.  7.  67. 


The  Cafe  is  Alterd 


Me  thinkes,  impers.  Arch,  and 
poet.     It  seems  to  me.     i.  5.  138. 

tMisprise,  v.  To  mistake,  mis- 
understand.   4.  I.  39. 

Mistery,  n.  [Form  of  mystery.l 
fOccupation,  profession.     2.  7.  9. 

Motion,  n.  fProposal,  request. 
I.  5.  99. 

Motly,  a.  Pertaining  to  a  fool; 
foolish.     I.  5.  21. 

Moue,  V.  fTo  address  one's  self 
to ;  to  speak  about  an  affair.  3. 2. 
50. 

Much,  adv.  Used  ironically  for 
'not  at  all.'     See  note  on  3.  i.  5. 

Mucke,  n.  fA  jocular  term  for 
money.     See  note  on  4.  7. 167. 

fMumps,  n.  A  term  of  contempt 
or  mock  endearment  for  a  woman. 
2. 2. 43. 

Murraine,  n.  flnt.  phr.  with  a 
murrain:  An  exclamation  of  anger. 
1. 1. 126. 

Muse,  V.  To  wonder,  marvel. 
Now  rare  or  poet.    1. 1.  7. 

Mutton,  ».  A  loose  woman. 
Slang.     (?)4.3-53- 


Na,  adv.  Obs.  variant  of  nay. 
1. 1. 41. 

Natiue,  a.  Conferred  by  birth; 
inborn ;   hereditary.    4. 4. 22. 

Neere,  prep.  Phr.  to  come  near 
any  one:  To  touch  or  affect  deep- 
ly.    Now  rare.    See  note  on  2. 2. 18. 

fNingle,  «.  [By  epithesis  of  n, 
from  the  article  an,  or  poss.  fnine 
fingle.]     See  note  on   5.  3.  44. 

fNoble  Science,  n.  Fencing; 
'Science  of  Defence.'  See  note  on 
2.  7. 10. 

Nor,  conj.  In  correlation :  nor 
.   .   .   nor.    Arch,  or  poet.    5. 3. 60. 


Note,  n.  'An  objective  sign,  or 
visible  token,  which  serves  to  iden- 
tify or  distinguish  some  person  or 
thing.  Common  from  c.  1580  to 
1680 ;  now  rare.' — N.  E.  D.  5.  5. 
122. 

Nouels,  n.  fSomething  new;  a 
novelty.  In  early  tise  always  pi. 
5-  5.  224. 

Nought,  n.  Nothing.  2.4.28. 
Naught.     3.  3.  II.     Now  only  lit. 

Obiect,  n.  fAn  obstruction,  in- 
terposition.    Obs.  rare.     1.  4.  85. 

Obseruance,  n.  i.  Respectful  or 
courteous  attention,  dutiful  service. 
1. 4  SO. 

t2.  Observant  care,  heed.  5. 5. 
150. 

Occurents,  n.  Obs.  or  a  rare 
archaism.  Occurrences,  incidents, 
events.    4.  8.  70. 

Odde,  adv.  fSingularly,  unusu- 
ally.    I.  5. 137. 

Once,  adv.    fi.  Once  for  all.    2. 

1.27. 

2.  Ever,  at  all,  only.  Chiefly  in 
conditional  and  negative  statements. 
2.  6. 17. 

Ope,  V.  [Reduced  from  open, 
v.]  Chiefly,  and  since  17th  c.  ex- 
clusively poet.    2. 1.  60. 

Or,  conj.  In  correlation:  or  .  .  . 
or.    Arch,  or  poet.    5. 4. 16. 

Packe,  V.  intr.  To  go  away,  to 
depart,  esp.  when  summarily  dis- 
missed.    I.  1. 122. 

fPacking  penny,  n.  A  penny 
given  at  dismissal.  Phr.  to  give  a 
packing-penny  to:  To  'send  pack- 
ing,'  to  dismiss.    4. 2. 67. 

Panurgo.  For  Panurge.  See 
note  on  4.  7. 148. 


Glossary 


Passe,  V.  I.  To  go  from  side  to 
side  of,  or  across.    2.  7. 45. 

t2.   To  surpass,   exceed.     3.  3.  32. 

t3.  To  care  for,  regard.  Gen- 
erally used  with  a  negative.     5. 5. 

275- 

t4.  Phr.  to  pass  of:  To  depart 
from  a  person  or  thing.     5.  5. 276. 

Passing,  ppl.  adv.  Surpassingly, 
exceedingly,  very.  Now  somewhat 
arch.    2. 1.  43. 

Past,  prep,  f^ore  than,  above 
(in  number  or  quantity).     2.7.50. 

Pastorella.  A  shepherdess  in 
the  Faerie   Queene    (6.9).    2.2.44. 

Peasant,  n.  fA  boor,  clown; 
rascal.    5.  5.  223. 

Peeuish,  a.  fPerverse,  refrac- 
tory ;    foolish,  childish.    4.  6.  8. 

Pelfe,  w.  Money.  Now  depreci- 
atory.   2. 1.  30. 

Pen,  n.  Manner,  style,  or  quality 
of  writing.     1. 1. 106. 

Peremptory,  o.  i.  Positive  in 
opinion  or  assertion;  bold.    1. 1.  116. 

t2.    Obstinate.    5.  5.  19. 

Peremptory,  adv.  fPositively. 
2.  7.  62. 

Perfect,  adv.  Perfectly.  Obs. 
exc.  dial,  or  poet.     i.  5.  68. 

Pertake,  v.  [Form  of  partake.] 
fTo  share  in  (a  communication  or 
news),  to  be  informed  of.     1.4.74. 

Peruse,  v.  To  survey,  inspect, 
examine,  or  consider  in  detail. 
Arch.     I.  I.  43. 

Pesant,  n.    See  Peasant.    4.  3.  6. 

Philip,  M.  [Form  of  fillip.] 
Something  of  small  importance,  a 
trifle.    2.  7.  120. 

Plaid,  ppl.  a.  fPhr.  play  upon: 
To  make  sport  of,  delude.  Now 
rare.    4.  8.  84. 


Plantan,  n.  [Form  of  plantain.] 
A  tropical,  tree-like,  perennial  herb, 
noted,  among  other  things,  for  its 
properties  of  stanching  the  flow  of 
blood,  or  of  closing  wounds.  See 
note  on  2.  7.  121. 

Play,  V.  To  contend  for  exer- 
cise or  pastime  with  swords,  rapi- 
ers, or  sticks ;  to  fence.  Obs.  or 
arch.    2.  7.  3. 

Pleasant,  a.  fMerry,  facetious. 
2.  5. 17. 

Pockie,  a.  fAs  a  coarse  expres- 
sion of  reprobation,  or  merely  in- 
tensive ;  vile,  contemptible.    5.  3.  84. 

Poise,  V.  fTo  balance,  equal, 
match.     I.  4.  42. 

Posie,  n.  Arch,  or  dial.  [A 
form  of  posy,  syncopated  form  of 
poesy.]  fA  motto  or  short  inscrip- 
tion.    See  note  on  4.  5.  53. 

Possest,  ppl.  a.  Inhabited  and 
controlled  by  a  demon  or  spirit; 
mad,  crazy.     5. 2.  14. 

Pottle,  n.  A  measure  of  capacity 
for  liquids  (also  for  corn  and  other 
dry  goods),  equal  to  two  quarts; 
now  abolished.    4.  3. 34. 

Powrder,  n.  Obs.  exc.  dial. 
['Origin  unascertained.  Identity 
with  powder  (/)  is,  from  the  sense, 
improbable.' — N.  E.  D.]  An  impe- 
tus, rush ;  force,  impetuosity. 
Chiefly  in  phr.  with  a  powder,  im- 
petuously, violently.  See  note  on 
1. 1.43. 

Pox,  n.  tUsed  in  imprecations, 
or  exclamations  of  irritation  or  of 
impatience;  as  a  pox  upon;  a  pox 
a  God  on.    1. 1.  8. 

Practise,  v.  fTo  attempt,  en- 
deavor, try.     1. 2.  30. 

Praecisianism,  n.  The  practice 
or   conduct   of   a   precisian;    orig. 


The  Cafe  is  Alterd 


applied  to  Puritanism.  See  note 
on  2.  3.  26. 

Prefer,  v.  To  recommend.  Obs. 
or  arch.     i.  i.  37- 

Presently,  adz/.  Immediately. 
Obs.  or  orc/i.     i.  5. 147. 

Presto,  adv.  An  interjection. 
Commonly  used  by  conjurers  and 
jugglers  in  various  phases  of  com- 
mand =  immediately,  instanter.  i. 
I.  21. 

Prety,  a.  [Form  of  pretty.] 
fClever,  excellent,  shrewd.     1. 1.  38. 

fPrincocks,  n.  [Form  of  fprin- 
cox.]  A  pert,  forward,  saucy  boy 
or  youth.     5.  3. 17. 

tPristmate,  n.  [Form  of  -fpris- 
tinate.]  The  first  or  original  state. 
Rare.     1.2.7. 

Prithee,  int.  phr.  Arch.  A  col- 
loquialism for  '(I)  pray  thee.'  i. 
2. 2.     Prithy.     5. 3. 49. 

Prize,  n.  fA  contest,  competi- 
tion, match.    2.  7. 17. 

Procliue,  a.  Obs.  or  arch.  Has- 
ty, forward,  precipitate,     i.  5.  85. 

Proiect,  M.     PObject.    4.8.47. 

Proper,  a.  Of  goodly  appear- 
ance, well-formed,  handsome.  Arch. 
and  dial.    5.  3. 29. 

Protract,  v.  fTo  extend  or  pro- 
long time  so  as  to  cause  delay;  to 
waste  time.    4.  2. 48. 

Proude,  o.  [Fr.  preux,  valiant] 
t Valiant,  brave ;   mighty.    3.  4.  51. 

Proue,  V.  To  experience,  suffer. 
Arch.    4.  8.  51. 

Puh,  int.  Obs.  form  of  pooh. 
1.2.  II. 

Pure,  o.  Fine,  capital,  excellent. 
Slang  or  colloq.  (Porig.  ironical). 
Now  rare  or  obs.  See  note  on  5. 
5.79. 


Put,  V.  fPhr.  put  down:  To 
excel  or  surpass  by  comparison. 
4.  2.  64. 

Quality,  n.  fProfession,  busi- 
ness.   2.  7.  5. 

Quick  humor'd,  a.  Lively ;  char- 
acterized by  physical  or  mental  live- 
liness or  sprightliness.     i.  5. 157. 

Quiddit,  n.  Now  arch.  =  quid- 
dity: A  subtlety  or  captious  nicety 
in  argument;    a  quirk,  quibble.    2. 

2  31- 

Quoth.  [Preterit  of  quethe,  to 
say.]  Said.  ['Used  with  sbs.,  or 
pronouns  of  the  first  and  third 
persons,  to  indicate  that  the  words 
of  a  speaker  are  being  repeated.' — 
N.E.D.]     4.3.33. 

fRacket,  v.  trans.  To  toss  or 
bandy  about.    4.  7. 131. 

Rakehell,  n.  Arch.  A  thorough 
scoundrel  or  rascal.    4.  7.  57. 

Rapt,  ppl.  a.  [From  rape.]  En- 
raptured, ravished,  transported,     i. 

4.43. 

Regard,  v.  fTo  look  after,  take 
care  of.    4.  i.  46. 

Religion,  n.  fThe  sense  of  any 
holy  obligation ;  duty  and  awe  paid 
to  things  held  sacred.     5.  4.  16. 

Reluolue,  v.  [Form  of  revolve.] 
t(?)  To  upset  by  revolution.  4.7. 
102. 

Resolue,  v.  i.  To  decide  or  de- 
termine.   2. 1.  58. 

2.  To  answer  a  question ;  to  solve 
a  problem ;  to  explain.  2.  7.  4, 13 
(?   fin  form). 

t3.  To  be  satisfied  or  convinced. 
4.  8.  92. 

Resoule,  v.  2.  i.  58.  See  Re- 
solue. 


Glossary 


aoj 


Respect,  n.  fPhr.  in  respect  of: 
In  view  of,  by  reason  of  or  because 
of.     I.  5. 130. 

Respect,  v.  To  regard,  consider, 
look  upon,  as  being  of  a  certain 
kind.     Rare.    4. 4. 28. 

Respectue,  a.  [Form  of  respec- 
tive.] fRespectful,  courteous.  Very 
common  1600- 1650.     i.  i.  47. 

Responsible,  a.  fCorrespondent 
or  answering  to  something.    1.4.44. 

Rest,  n.  fPhr.  to  set  up  one's 
rest:  To  take  up  one's  permanent 
abode.     See  note  on  1. 1. 122. 

Retort,  V.    To  repay,     i.  5. 100. 

Right,  adv.  i.  Exactly,  precisely. 
Dial,  or  arch.    1. 1.  34. 

2.  With  adj.:  Very.  Arch.  2.6. 
32. 

Rooke,  n.  fA  gull,  simpleton,  i. 
5.22. 

Rude,  a.  i.  Ignorant,  uncultured, 
unmannerly.     2.  7.  73. 

2.  Ungentle,  violent.    4. 4.  30. 

3.  Of  sounds :  Discordant,  harsh. 
5-  4-  65. 

Rug,  n.  t'A  rough  woolen  ma- 
terial, a  sort  of  coarse  frieze,  in 
common  use  in  the  i6-i7th  c' — N. 
E.  D.    4. 7. 99. 

Rule,  n.  fMisrule,  disorder.  5. 
5-57- 


Sad,  a.  fSerious,  sober,  grave. 
1. 1. 139- 

Sadnesse,  «.  fi-  Seriousness, 
gravity,     i.  5. 153. 

t2.  Phr.  in  good  sadness:  In 
earnest,  not  joking.    4.  8.  107. 

Satrapas,  ».  [Form  of  satrap.] 
A  governor  of  a  province  under 
the  ancient  Persian  monarchy,  i. 
5.258. 


Saue,  quasi-prep.  Except.  i. 
Often  strengthened  by  the  addition 
of  only.     4.  7.  139. 

2.  Followed  by  the  Nom.  of  a  pro- 
noun.   5. 2.  21. 

Sauiour,  n.  [Form  of  savor.] 
Odor,   smell.     Poet,  and  arch.     4. 

8.  39. 

Sauour'd,  ppl.  a.  fPerceived,  ap- 
prehended.   2. 4. 17. 

Say,  V.  Speak.  [Used  with 
well,  true,  truly.]  Somewhat  arch. 
2.  7. 151. 

fSbloud,  i7tt.  [<God's  blood.] 
An  imprecation.     1. 1. 13. 

Scalding,  ppl.  a.  fOf  desires, 
etc. :    Burning,  fervent.     5.  4. 36. 

Scalion,  n.  [Form  of  scallion.] 
A  kind  of  small  onion  native  of 
Palestine ;  the  shallot.  Dial.  4. 5. 
37- 

fScape,  V.  [Aphetic  form  of  es- 
cape.]    To  escape.    4.  7. 64. 

Scarce,  adv.  Scarcely.  Now 
only  literary.    4.  4. 26. 

Scuruie,  ti.  Something  contemp- 
tible or  vile.     1.2.35. 

Seeme-les,  a.  Obs.  exc.  arch^ 
Unseemly,  shameful,  unfitting.  3. 
4-  52. 

Semblably,  adv.  fin  like  man- 
ner, similarly.     4.  i.  16-7. 

fSemitary,  n.  Obs.  form  of 
scimitar.    5.  3.  85. 

Seruant,  n.    fLover.    2. 4. 47. 

Serue,  v.  To  regulate  one's  con- 
duct in  accordance  with  the  de- 
mands of  ;  to  comply  with.     i.  4.  63. 

fSewer,  n.  A  person  charged 
with  the  service  of  the  table,  esp. 
a  head  servant  in  such  a  capacity. 
I.  I.  112    (stage-direction). 

fS'heart,  int.  [<God's  heart.] 
An  imprecation.    5. 4. 11. 


204 


The  Cafe  is  Alterd 


Shew,  V.  intr.  Arch,  form  of 
show.    To  appear,  seem.     i.  5.  31. 

Shift,  n.  I.  Phr.  to  be  put  to 
one's  shifts:  Forced  to  adopt  some 
stratagem  or  trick.  See  note  on 
1. 1.  28. 

2.  Phr.  to  make  shift:  To  find 
ways  and  means  of  doing  some- 
thing, or  of  overcoming  a  difificulty. 

4-  7- 175. 

Shrewdly,  adv.  jln  a  high  and 
mischievous  degree ;   quite.     2.  5.  18. 

Simply,  adv.  Plainly,  clearly; 
absolutely.    2. 4. 61. 

Single,  quasi-adz'.  Weakly,  sim- 
ply, foolishly.    2.  7.  136. 

Sirrah,  n.  Obs.  or  arch.  i.  A 
word  of  address  generally  equiva- 
lent to  'fellow'  or  'sir.'  1. 1.36; 
1. 4-  3. 

2.  Used  attributively  with  appel- 
lations or  proper  names.     1. 1. 43. 

Sleight,  a.  [Form  of  slight.'l 
Imperfect,  superficial ;  frivolous. 
2.  3.  16. 

tSlid,  int.  [<God's  lid  (eye).] 
An  imprecation,     i.  2.  6. 

Slops,  n.  pi.  t'Wide  baggy 
breeches  or  hose,  of  the  kind  com- 
monly worn  in  the  i6th  and  early 
17th  c' — N.  E.  D.  See  note  on 
4.  7-  96. 

Solicite,  V.  i.  To  seek  to  obtain; 
to  court.    2. 2.  55. 

t2.  To  advocate,  enforce  the 
claims  of.    3.  i.  4. 

Sooth,  V.    To  flatter ;  encourage. 

5-  3-  83. 

Sort,  n.  A  company.  Obs.  or 
Prov.    I.  5.  21. 

Soundly,  adv.  Stoutly,  boldly. 
5- 1. 19- 

tSplendius,  a.  Obs.  Splendid. 
5-  5-  272. 


Spoile,  n.  fUndoing,  ruin.  5. 5. 
166. 

Stale,  n.    -fA  decoy,  bait.    5.4.7. 

Stally,  adv.  Form  of  stalely.  2. 
4-51. 

Stand,  v.  i.  Phr.  to  stand  on 
(upon):  To  insist  upon;  to  rely 
upon,  trust  to.     i.  2.  11 ;    5.  i.  7. 

2.  Phr.  to  stand  to:  To  await 
and  submit  to ;  to  take  the  chance 
or  risk  of.    2.  7.  64. 

fStarting  hoi,  n.  A  loop-hole; 
evasion.     5.  5. 186. 

State,  n.  Phr.  to  keep  state:  To 
preserve  a  proper  dignity  and  re- 
serve.    5.  5. 211. 

Stature,  n.  fState,  condition.  2. 
3.36. 

Still,  adv.  Always,  ever,  con- 
stantly.    1. 2.  7. 

Suite,  V.  intr.  To  correspond, 
agree,  accord.  Generally  followed 
by  with  or  to.    4.  2.  54. 

fSuper  negfulum.  'A  common 
term  among  topers.' — Nares.  See 
note  on  4.  5. 13-4. 

fSurquedry,  n.  Arrogance,  over- 
confidence.     See  note  on  4.  5. 27. 

fSuspect,   n.     Suspicion,     i.  4. 14. 

tS'will,  int.  [<God's  will.]  An 
imprecation.     1.3.8. 

fS'wounds,        int.  [<God's 

(Christ's)  wounds.]  An  impreca- 
tion.    I.  5.  29. 

Tablet,  n.  fAn  ornament  of 
precious  metal  or  jewelry  of  a  flat 
form,  worn  about  the  person.  5. 
5- 126. 

Take,  v.  fi.  Phr.  to  take  knowl- 
edge  of:    To   recognize.      1. 1. 130. 

t2.  Phr.  to  take  up:  To  obtain 
goods  on  credit ;  to  borrow.  5. 3. 
66.     (Pun.) 


Glossary 


205 


t3.  Phr.  to  take  upon  one: 
To  assume  authority  or  importance. 
2.  7.  62. 

Taking,  vbl.  n.  Predicament, 
dilemma,  condition,  plight.     4.  2.  73. 

Tane,  /jo.  />/)/.  O&j.  form  of 
ta'en  contracted  from  taken.  4. 2. 
60. 

Taste,  V.  fi.  To  please,  suit,  be 
agreeable  to.    1.5. 211. 

2.  To  perceive,  recognize,  take 
cognizance  of.  Poet,  or  dial.  4. 
4. 20. 

Tearme,  n.  [Form  of  term.]  A 
term  of  court.     See  note  on  1. 1.  96. 

Tell,  V.  To  know.  Phr.  when, 
can  you  tell.     See  note  on  5.  i.  83. 

Tempt,  V.  fTo  put  to  the  test 
or  proof.     I.  5. 44. 

Tend,  v.  To  attend  to,  to  look 
after.     Obs.  exc.  dial.    i.  5. 166. 

Then,  conj.  Obs.  form  of  than. 
I.  5.  83. 

Tickle,  V.  To  please  or  amuse 
by  gentle  appeals  to  one's  imagina- 
tion, sense  of  humor,  vanity  or  the 
like.     I.  5. 139. 

Tippet,  n.  fPhr.  to  turn  tippet: 
To  make  a  complete  change  in  one's 
course  or  condition.  See  note  on 
4.  2.  66. 

To,  adv.     Obs.   form  of   too.     i. 

1.47- 
fTo  fore,  adv.     Before.     1.1.4. 

Touch,  n.  Mental  or  moral  feel- 
ing; moral  perception  or  apprecia- 
tion.    5.  4.  16. 

Touch,  V.  To  hurt,  injure;  to 
stain,  taint.    4.  8. 34. 

Touching,  quasi-prep.  Concern- 
ing, with  respect  to.    2.  6. 13. 

Toye,  n.    A  trifle.     1. 1. 93. 

Translated,  ppl.  a.  Transformed. 
4.  8. 121. 


Trick,  n.  fi.  A  toy,  a  trifle,  i. 
1.89. 

2.  A   peculiar  habit  or  practice. 

(?)   4.3.41. 

3.  A  feat  or  an  exhibition  of  skill 
or  dexterity.    4.  3.  56. 

4.  A  crafty  device,  an  artifice,  a 
stratagem.     5.1.7. 

Troth,  n.  Obs.  form  of  truth. 
(o)  Int.  phr,  in  troth,  by  my  troth, 
or  colloquially  reduced  to  troth,  i. 
3.  3.  (&)  Noun.  5.  3.  9.  Use  chiefly 
literary. 

Trow,  V.  Arch.  Generally  in  a 
phrase,  /  trow,  or  trow,  added  to 
questions,  and  nearly  equivalent  to 
/  wonder,    i.  5.  i. 

True-stich,  n.  Through-stitch : 
applied  to  embroidery  exactly  alike 
on  both  sides  of  the  foundation. 
2.3.15. 

Trul,  n.  [Form  of  trull]  A 
drab,  strumpet.    4.  7.  46. 

Trusse,  v.  To  hang:  usually 
with  up.    Arch.    5. 5. 9. 

fTucket,  ».  [It.  toccata,  prelude 
to  a  piece  of  music]  A  flourish  on 
a  trumpet;  a  fanfare.  1.5.205 
(stage-direction). 

Turtle,  n.  [Shortened  form  of 
turtle-dove.]     See  note  on  4.  6. 9. 

Tush,  int.  An  exclamation  ex- 
pressing rebuke  or  impatience,  and 
equivalent  to  'pshaw !  be  silent.' 
5. 1.  33- 

Tut,  int.  An  exclamation  used 
to  check  or  rebuke.     1. 1. 104. 

Twixt,  prep.  Arch,  and  poet. 
An  abbreviation  of  betwixt:  Be- 
tween.   2.  5.  5. 

Tymerous,  a.  Form  of  timor- 
ous.   I.  4. 14. 


2o6 


The  Cafe  is  Alterd 


Vaine,  n.     Form  of  vein.     1. 1. 

lOI. 

Vice,  n.  The  stock  buffoon  in  the 
old  English  moralities.  See  note 
on  2.  7.  86. 

Vild,  o.  A  corrupt  form  of  vile. 
4.  I.  34. 

Vncouer,  v.  i.  To  take  off  one's 
hat.     1. 1. 114. 

2.  With  quibble:  To  disclose,  re- 
veal.   5. 1. 25. 

fVncur'd,   ppl.  a.    Incurable.    5. 

Vnderprised,  ppl.  a.  Under- 
valued.   4. 1. 28. 

Vngem.  [For  unguem.]  L.  un- 
guis, a  finger  nail.  Phr.  ad  un- 
guem: To  a  hair,  exactly.  See 
note  on  4.  5. 28. 

Vnthrift,  n.    A  prodigal.    2.  i.  5. 

Vnto,  prep.  ['Now  somewhat 
antiquated,  but  much  used  in  for- 
mal or  elevated  style.' — C.  D.]  To. 
2. 4. 36. 

Void,  V.  intr.  fTo  go,  depart; 
'begone!'    1. 1. 121. 

fVpsie  freeze,  adv.  '[Form  of 
Upsee-Freese.]  Dutch,  op  sijn 
Friesch  {op,  upon,  in;  sijn  =  G. 
sein,  his,  its.)  :  In  the  Frisian  man- 
ner, i.  e.,  to  drink  deeply.' — C.  D. 
See  note  on  4.  5. 28. 

Vtopia,  n.  'England.' — C.  2.  7. 16. 

Weedes,  n.  pi.  Garments.  ['Now 
used  chiefly  in  widow's  weeds.' — C. 
D.l     See  note  on  1. 1.  22. 


Wench,  n.  A  young  woman — a 
familiar  term,  but  not  derogatory 
as  now.    Arch.     1. 1.  37. 

What,  pron.  i.  (Cf.  L.  qualis.) 
'Applied  to  persons ;  nearly  equiv- 
alent to  who,  but  having  reference 
to  origin  or  character,  rather  than 
to  name  or  identity.' — C.  D.  1. 1. 
62. 

2.     Expressing  a  summons.     4. 7. 

53- 

When,  int.  i.  An  exclamation 
of  impatience.  4.  8.  73.    ?Obs.  Cf.  2. 

2.  Phr.  when,  can  you  tell.  See 
note  on  5.  i.  83.     ?Obs. 

Why  so,  phr.  An  expression  of 
consent  or  unwilling  acquiescence : 
so  be  it.    5. 1.  77. 

Wight,  n.  A  person,  whether 
male  or  female.     1. 1. 1. 

Wind,  n.  i.  Phr.  in  the  wind: 
Astir,  afoot.    4.  2.  53. 

2.  Phr :  down  the  wind :  Toward 
ruin    or    adversity.      See    note    on 

4-  5-  7- 

tWorkiday,  n.  Obs.  form  of 
workaday.    4.  5.  62. 

Wot,  V.  [Pres.  Ind.  3d  pers. 
sing,  from  wit.  Arch.  exc.  in  the 
set  phrase  to  wit.]  Phr.  God  wot: 
God  knows.  Used  to  emphasize 
the  truth  of  a  statement.     3.  3.  36. 

fWrackt,  ppl.  a.  Obs.  misspell- 
ing of  racked:  Tortured,  tormented, 
harassed.     3.  4.  30. 

Writ,  ppl.  a.  An  obs.  or  arch. 
form  of  written.    2.  7.  62. 


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INDEX 


Additions,  later,  to  The  Case  is 
Altered,  xxix,  xxx  ff.,  xl. 

Ad  ungem,  158. 

Alia  Cor  agio,  114. 

Amurath,  172. 

An  eye  to  the  main  chance,  170. 

Apparel,  Jonson's  ridicule  of  ex- 
travagance in,  XXV ;  the  tendency 
to  extravagance  in,  171. 

Aries,  143. 

Aristotle,  Poetics,  Jonson's  attitude 
toward,  xlvii,  Ix. 

Aronstein,  P.,  xxxi,  xxxii,  xxxiv, 
xxxvii,  xxxviii,  xxxix,  xl,  xlviii, 
Ivi,  Ixiv. 

Art  of  Memory,  131. 

Audience,  satire  of,  xxix,  xxxix  ff . ; 
character  of,  in  the  public  and 
private  theatres,  136;  conduct  of, 
138. 

Authorship  of  The  Case  xs  Altered, 
discussion  of,  xi  ff. 

A  word  to  the  wise,  08. 


B 

Ballads,  97. 

Barrenger,  William,  97. 

Baskervill,  C.  R.,  his  opinion  con- 
cerning the  allusion  to  Anthony 
Munday,  xxx ;  English  Elements 
in  Jonson's  Early  Comedy,  cited, 
xxxi,  xli. 

Bayne,  R.,  his  view  about  'best 
plotter,'  xxxvi;  cited,  xxxviii 
(note  11). 

Black,  .worn  by  scholars,  156. 

Blackfriars,  95,  136. 

Blue  order,  119. 

Bodenham,  J.,  Belvedere,  xxxix, 
Ixii,  127,  128,  149. 

Bombard  slops,  166. 

Break  my  head,  and  bring  me  a 
plaster,  142. 

Bridget,  Saint,  153. 


Brooke,  C.  F.  T.,  xli,  xlvi. 
Brown  study,  152. 
Bucklers,  to  bear  away  the,  144. 
Buland,  Mable,  xxxiii,  xlix,  li. 


Capriccio,  115. 

Case  is  Altered,  The,  95;  acted  by 
the  students  of  the  University  of 
Chicago,  Ixiv ;  authorship  of,  xi 
ff. ;  its  characters,  xx  ff.,  liv  ff . ; 
undeveloped  characters  in,  xii, 
xxxiii,  Iviii  ff . ;  a  possible  collab- 
orator in,  xii,  xxviii ;  compared 
with  the  other  plays  of  Jonson, 
Ixii  ff. ;  early  composition  of, 
xxxi  ff. ;  date  of,  xxix  ff. ;  words 
in,  that  are  common  with  Jon- 
son, xvii  ff. ;  the  treatment  of  the 
dramatic  unities  in,  xii,  xiii, 
xxxiii,  xlix  ff. ;  evaluation  of, 
xlvii  ff . ;  footnotes  to,  x ; 
'humour'-studies  in,  xxiv  ff. ;  its 
immaturity  of  composition,  xxxii 
ff. ;  Jonson's  name  on  the  quarto 
of,  xiii  ff. ;  later  insertions  in, 
xxxi-ii,  XXXV  ff .,  xl ;  metrical 
peculiarities  of,  xxvi  ff. ;  omitted 
from  the  folios  of  Jonson,  vii,  xi 
ff . ;  organic  unity  of,  liii  ff. ;  the 
quarto  of,  vii  ff. ;  the  question  of 
its  priority  to  Every  Man  In, 
xxxii  ff . ;  satire  in,  xxxv  ff. ; 
sources  of,  xiii  ff. ;  its  sources  of 
comic  effect,  Ix ;  its  time-scheme, 
xlix  ff. ;  its  variety  of  plots  and 
sub-plots,  xii,  xxxiii,  xlviii  ff. 

Castelain,  M.,  xii,  xiii,  xv,  xxxi, 
xxxiv,  liv,  Ivi,  Ivii,  Iviii,  lix,  Ixiii. 

Censuring  plays,  138,  139. 

Chameleon.   175. 

Chamont,  General,  124. 

Chapman,  George,  All  Fools,  xx, 
xxiii,  xxvii;  Humorous  Day's 
Mirth,  xxxviii. 

Children  of  the  Blackfriars,  95. 


P3.>06230 

5-:i6 


Index 


213 


Cobblers,  98. 

Cob-webs,  curative  properties  of, 
142. 

Collier,  J.  P.,  xxxi,  xxxv. 

Come  near  him,  128. 

Cony-catching,  164. 

Courthope,  W.  J.,  xxxii. 

Courtship,  fantastic  modes  of,  xxvi. 

Crawford,  C.  H.,  his  opinion  con- 
cerning the  date  when  the  satire 
on  Anthony  Munday  .was  inserted, 
xxxix ;    cited,  127,  128,  149. 

Crotchets,  157. 

Crown,  French,  175. 

Crown,  money,  187. 

Cunningham,  F.,  xi,  xiii,  xvii. 

Cypress,  153. 

D 
Danger  doth  breed  delay,  160. 
Date  of  The  Case  is  Altered,  xxix 

ff. 
Decade  in  the  Art  of  Memory,  131. 
Dekker,     Thomas,     Roaring     Girl, 

xxiii ;    Shoemaker's  Holiday,  xx, 

xxvii,  Ivi,  Ixi. 
Devices,  printers',  96. 
Down  the  wind,  156. 
Dreams,  187. 

Dress,  extravagance  in,  171. 
Dryden,  John,  xv,  xxiv. 
Dumb-shows,   106. 


Editions  of  The  Case  is  Altered,  vii 

flf. 
Egg,  white  of,  its  healing  properties, 

144. 
Eleven   and   six,  hours   for  meals, 

130. 
Epitaphs,  135. 
Evaluation  of  The  Case  is  Altered, 

xlvii  ff. 
Extemporal  plays,  137. 


Fencing,  xxv,  135. 

Fennel,  119. 

Flax  and  white  of  an  egg,  144. 

Fleay,  F.  G.,  xiii,  xxxi,  96. 

Fool's  paradise,  177. 


Footnotes  to  the  text  of  The  Case 

is  Altered,  x. 
Fortuna  de  la  guerra,  112. 
Fortuna  non  mutat  genus,  151. 
Fortunatus'  hat,   122. 
Fortune  my  foe,  169. 
Fortune's  wheel,  151. 
France  and  Milan,  114,  124. 
French  crown,  175. 
From  the  crown  of  the  head,  155. 


Gayley,  C.  M.,  Ixv. 

Genius,  115. 

Giiford,  William,  his  edition  of  Jon- 
son,  xi;  cited,  xvii,  xxxi,  xxxii, 
xliv,  Ivii,  Ixi. 

God  of  gold,  179. 

Gold  is  but  muck,  170. 

Goodwin  Sands,  112. 

Grace,  saying  of,  129. 

Greek,  mad,  169. 

Greg,  W.  W.,  his  letter  regarding 
the  folios,  vii. 

Ground,  the  pit  of  a  theatre,  106. 

H 

Handkerchiefs  as  gifts,  159. 

Hang  sorrow,  181. 

Hare,  keenness  of  vision  of,  185. 

Hart,  H.  C,  his  opinion  about  Juni- 
per, xli ;   cited,  vii. 

Harvey,  G.,  possible  allusion  to,  xli. 

Have  at  thee,  145. 

Hazlitt,  W.  C,  vii,  xxxv. 

Healths,  drinking  of,  151. 

Helogabolus,  189. 

Henslowe's  Diary,  xii,  xl,  xlviii. 

Heraldry,  xxv. 

Hold  hook  and  line,  115. 

Horace,  Epodes,  151 ;  Odes,  122, 
157;    Satires,  133. 

Hyena,  180. 

I 
I  come  with  a  powder,  100. 
Ill-gotten  goods  never  thrive,  187. 
In  an  academy,  156. 
In  artibus  magister,  139. 
In  diebus  illis,  160. 
In  Domino  confido,  96. 
Ingle,  99. 


214 


The  Cafe  is  Alterd 


Insane  people  thought  to   be  pos- 
sessed, 143. 


Jahrbuch,  xviii. 

Jonson,  Ben,  his  attitude  toward 
Aristotle,  xlvii,  Ix  ;  characters  rem- 
iniscent of,  XX  ff. ;  his  connec- 
tion with  Henslowe,  xxxix,  xlviii ; 
his  dislike  of  affectations,  135,  154, 
156;  his  lack  of  interest  in  love- 
scenes,  XV,  Ixiii ;  his  method  of 
naming  characters,  xxiii  ff. ;  his 
name  omitted  from  some  copies 
of  the  quarto  of  The  Case  is 
Altered,  xiii  ff. ;  his  observance 
of  the  dramatic  unities,  xlix  ff. ; 
his  poor  opinion  of  the  'common 
sort,'  xxxix;  his  plots,  xxxiii, 
xlvii,  Hi ;  his  practice  of  describ- 
ing characters,  xxiv ;  quotes  from 
his  own  works,  xvii,  140;  his  at- 
tempt at  romantic  comedy,  xiv ; 
his  satire  on  Anthony  Munday, 
XXXV  ff.,  and,  on  the  audience, 
xxxix  ff. ;  situations  common 
with,  xxiv ;  his  treatment  of  the 
sources  of  The  Case  is  Altered, 
xxxiii,  xlii  ff. ;  words  favorite 
with,  xvii  ff. ;  his  use  of  words 
of  Greek  and  Latin  origin,  xix ; 
Alchemist,  xxv,  xxxvi,  xxxix,  lii, 
Ixi,  Ixiii ;  Bartholomew  Fair, 
xxiv,  Ixi,  Ixiii ;  Catiline,  xlvii ; 
Cynthia's  Revels,  xxi,  xxiii,  xxiv, 
xxv,  xxvi,  xxxvi,  xxxviii,  xl, 
xlvii,  Ix,  Ixiii ;  Devil  is  an  Ass, 
xxiv,  xxv,  Ixi ;  Discoveries,  xvii, 
xxxiii,  xiv,  xlvii,  xlix,  li,  Ix ; 
Epicoene,  xxii,  xxiv,  xxv,  xlvii, 
lii,  Ixiii ;  Epigram  115,  xxxviii ; 
Every  Man  In,  xvii,  xx,  xxi,  xxii, 
xxiii,  xxiv,  xxv,  xxvi,  xxix, 
xxxii,  xxxiii,  xxxiv,  xxxviii,  Ixi, 
Ixiii ;  Every  Man  Out,  xvii,  xviii, 
xxi,  xxii,  xxiii,  xxiv,  xxv,  xxvi, 
xxix,  xxxiii,  xxxix,  xl,  xlvii,  Ix, 
Ixiii ;  Magnetic  Lady,  xxii,  xxiv, 
xxv,  xxxiii,  xxxix;  New  Inn, 
xxiv,  xxv,  xxvi,  xxxvi,  xlvii, 
Ixiii ;  Poetaster,  xvi,  xxi,  xxii, 
xxiv,  xxv,  xxvi,  xli,  xlvii,  Ix, 
Ixiii ;   Sejanus,  xvi,  xlvii ;    Staple 


of  News,  xxiv,  xxv,  xxvi,  xxxviii, 
xlvii ;  Tale  of  a  Tub,  xxi,  xxiv, 
Ixi,  ixiii ;  Underwoods,  xxxvi ; 
Volpone,  xxii,  xxiv,  xxv,  lii,  Ix, 
Ixiii. 

K 
Koeppel,    E.,    xxxi,    xxxiv,    xxxv, 
xxxviii. 


Lamb,  Charles,  Specimens,  116,  129, 

148. 
Lie  there  the  weeds  that  I  disdain 

to  wear,  98. 
Lion's  hide,  ^sop's  fable  of,  107. 
Lounsbury,  T.  R.,  xxxi,  xxxiii,  xlix, 

Ixiii. 
Lovers'  perjuries,  144. 
Lunatics  possessed  of  devils,  143. 

M 

Machiavelli,  163. 

Mad  Greek,  169. 

Maecen-asses,  103. 

Main  chance,  an  eye  to,  170. 

Make  two  griefs  of  one,  121. 

March,  a  fair,  is  worth  a  king's 
ransom,  189. 

March  fair,  189. 

Marston,  John,  Eastward  Hoe, 
xxiii. 

Master  of  Arts,  139. 

Master  of  Defence,  135. 

Maximilian,  114,  124. 

Meals,  hours  for,  130. 

Mephistophiles,  143. 

Meres,  Francis,  his  reference  to  An- 
thony Munday  as  'our  best  plot- 
ter,'  XXX,  xxxvi,  xl. 

Middleton,  Thomas,  Blurt,  Master- 
Constable,  Chaste  Maid  in  Cheap- 
side,  Family  of  Love,  Michaelmas 
Term,  xxiii. 

Milan,  the  French  in,  114,  124. 

Moulton,  R.  G.,  his  letter  about  The 
Case  is  Altered,  Ixiv. 

Much,  144. 

Muck,  a  reference  to  money,  170. 

Munday,  Anthony,  referred  to  by 
Meres  as  'our  best  plotter,'  xxx, 
xxxv,  xxxvi ;  satire  on,  xxxv  ff. ; 


Index 


215 


cited,  Downfall  of  Robert,  Earl 
of  Huntington,  xxxv ;  Palladino 
of  England,  xxxv ;  Paradoxes, 
xxxvii;  Two  Italian  Gentlemen, 
xxxvii;  John  a  Kent  and  John  a 
Cumber,  xxxv,  xxxviii. 

Music  of  the  spheres,  176. 

My  mind  to  me  a  kingdom  is,  loi. 

N 

Nashe,  Thomas,  Lenten  Stuff e,  ref- 
erence to  The  Case  is  Altered, 
XXX,  Ixii. 

New  plays,  138. 

Ningle,  181. 

Noble  Science,  135. 

Notes  and  Queries,  xxxix,  xli,  127, 
128,   149. 

O 

'Of  meaning  'instead  of,'  98. 

Onion  and  tears,  iii. 

Onion,   possible  pun  on   the  name 

of,  154,  165. 
O  me  no  oo's,  178. 
Owl,  superstition  about,  185. 


Pageant-poet  and  pageants,  loo-i. 

Painting,   162. 

Panurgo,  169. 

Patents,  113. 

Penny,  price  of  admission  to  the 
theatre,  105. 

Plantain,  healing  properties  of,  142. 

Plautus,  Aulularia,  xv,  xxxiii,  xlii 
ff.,  xlvii,  xlviii,  Ivii ;  Captivi, 
xxxiii,  xlii  flf.,  xlvii,  xlviii,  xlix. 
Hi,  Ivi ;  characters  of,  found  in 
The  Case  is  Altered,  liv  ff. ;  others 
who  have  borrowed  from  the 
Aulularia  and  the  Captivi,  xlvi ; 
parallel  passages  from  the  Aulu^ 
laria:  125,  126,  127,  133-4,  145-9, 
164-6,  168,  176,  177,  179;  from  the 
Captivi:  123,  148,  150-1,  155,  172- 
4,  186. 

Plays,  amount  received  for,  104; 
censuring  of,  139;  extemporal, 
137;   new,  138. 

Posy,  159. 

Precisianism,  130. 


Pristmate,  iii. 

Prosody,  discussion  of,  xxvi  ff. 

Proverbs : 

A  fair  March  is  worth  a  king's 
ransom,  189. 

An  eye  to  the  main  chance,  170. 
A  word  to  the  wise,  98. 
Break  my  head  and  bring  me  a 
plaster,  142. 

Delay  breeds  danger,  160. 
Down  the  wind,  156. 
From  the  crown  of  the  head  to 
the  sole  of  the  foot,  155. 
Gold  is  but  muck,  170. 
Hang  sorrow,  care  will  kill  a 
cat,  181. 

Ill-gotten   goods    never   thrive, 
187. 

Make  not  two  sorrows  of  one, 
121. 

Sweetheart    and    bag-pudding, 
164. 
The  case  is  altered,  95. 
The  more  we  spare,  the  more 
we  gain,  128. 
To  smell  a  rat,  163. 
When,  can  you  tell,  178. 
Your  cake  is  dough,  188. 
Pull  his  cloth  over  his  ears,  120. 
Puppets,  182. 
Puritans,    references    to,    123,    129, 

130. 
Put  to  my  shifts,  99. 


Q 

Quarto  of  The  Case  is  Altered,  vH; 
variations  in  the  readings  of,  viii 
ff. ;    title-pages  of,  viii,  xi  ff.,  3, 

5,  7. 

R 

Radamant,  163. 
Rest,  to  set  up  one's,  107. 
Robertson,  D.  A.,  Ixv. 
Rope,  quibble  on,  165. 


Saint  Bridget,  153. 
Saint  Foyes,  176. 
Saint  Paul's  Church, 
Sarrazin,  G.,  xviii. 


97. 


2l6 


The  Cafe  is  Alterd 


Satire  in  The  Case  is  Altered,  xxxv 
ff. 

Schelling,  F.  E.,  xv,  xxix,  xxxii, 
xxxiii,  xlvii,  Hi,  Ivii. 

Set  up  one's  rest,  107. 

Shakespeare,  William,  2  Henry  IV, 
xxiii,  xlviii,  li ;  Henry  V,  xxiii ; 
Love's  Labor's  Lost,  xxiii,  Ixi ; 
Macbeth,  li;  Measure  for  Meas- 
ure, xxiii;  Merry  Wives  of 
Windsor,  xviii ;  Midsummer- 
Night's  Dream,  xxiii ;  Much  Ado 
About  Nothing,  Ivi;  Two  Gen- 
tlemen  of  Verona,  xx,  xxvii,  Ixiv. 

Shifts,  put  to,  99. 

Sigismund,   186. 

Slops,  166. 

Small,  R.  A.,  xvi,  xxxi,  xxxii, 
xxxviii,  xli. 

Smell  a  rat,  163. 

Songs  and  Sonnets,  155. 

Sources  of  The  Case  is  Altered, 
xlii  flf. 

Spheres,  music  of,  176. 

Spirits,  evil,   120,  143. 

Stationers'  Register,  xxix,  97. 

Stocks,  189. 

Stoll,  E.  E.,  Ivi. 

Super  negulum,  157. 

Surquedry,  157. 

Sutton,  Bartholomew,  xxix,  97. 

Sweetheart  and  bag-pudding,  164. 

Swinburne,  A.  C,  xii,  xiii,  xxxii, 
xlviii,  Ixiv. 

Symonds,  J.  A.,  xxix,  xxxii,  xxxiii, 
xxxvii,  xxxix,  xl,  xlvii,  xlviii.  Hi, 
Ivi,  Ixiii,  Ixiv. 


Tau,  dery,  dery,  145. 

Terence,  Andria,  iii. 

Term,  103. 

The  more  we  spare,  128. 

Theatres,  conduct  of  the  audience 


in,  xxxix,  138;  price  of  admis- 
sion to,  105,  139 ;  public  and  priv- 
ate, 136. 

Time  was,  time  is,  time  shall  be, 
155. 

Tippet,  to  turn,  153. 

Tobacco,  referred  to  by  Jonson, 
XXV ;    use  of,  by  ladies,  129. 

Tolman,  A.  H.,  Ixv. 

Transmutation  of  elements,  188. 

Travel,  xxv,  108. 

Trip  and  go,  162. 

Turks,  popular  subjects  for  the 
drama,   172. 

Turtle,  to  turn,  161. 

Twenty  pound  a  play,  104. 


U 


Upsie  Freeze,  158. 
Utopia,  136. 


Vice,   character    in   the   moralities, 

141. 
Vicenza,  114,  124,  148. 
Virgil,  JEneid,  148. 

W 

Ward,  A.  W.,  xxxi,  xl,  liv,  Ivii. 

Whalley,  Peter,  his  edition  of  Jon- 
son, X. 

Wheatley,  H.  B.,  xxxi. 

When,  can  you  tell,  178. 

Wilke,  F.  W.,  xxvii,  xxviii. 

Witchcraft,  120,  143,  162. 

Woodbridge,  Elisabeth,  xlix,  Hi, 
Ixiv. 

Word  to  the  wise,  98. 

Written  by  Ben  Jonson,  96. 


Your  cake  is  dough,  188. 


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